DOCSLIB.ORG

From Folklore to Hard Rock Jirf CERNY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Folklore to Hard Rock Jirf CERNY THE CZECH REPUBLIC From Folklore to Hard Rock JIRf CERNY olk music is the primary and most television (no other original source for contemporary pop­ existed), and from ular music in the Czech Republic. the stages of large Czech folk music is rich in melodies-rhyth­ halls flooded audi- mic dance elements play a lesser role, except ences, especially in in the hilly eastern regions adjoining the bor­ the 1950s. Of course, der with Slovakia-and we hear them as the these were only "ide­ inspiration for or as direct quotations in clas­ ologically correct" sical compositions by Bedhch Smetana, songs. Texts with reli­ Antonin Dvorak (Slavonic Dances) and Leos gious themes did not Janacek (Lachian Dances). They form an even pass the censor; at Photo courtesy Hradistan larger part of the traditional Czech brass band Christmas, for in- repertoire. When rock-and-roll finally came to stance, no carols on the birth of Christ were The Hradisfan the former Czechoslovakia in the 1960s, "gui­ broadcast. The Communist ideologues were Dulcimer Band tar groups" (they were not permitted to call trying to create a joyful picture of the life of combines tradition themselves rock-and-roll groups, and their the Czech people and their future, captured and innovation - public performances were restricted) created perfectly in the title of a feature film of the performing southern arrangements with a few bars of melody from time, full of Moravian folk songs: Tomorrow Moravian folk music folk songs as a theme over a rock rhythm There'll be Dancing Everywhere. and improvising with foundation. Vocal groups, such as the late In this way the majority of young people jazz, classical, and 1960s group Buccaneers from Ostrava, did soon were put off by Czech folk music. They urban folk musicians. likewise. It must be said, though, that the pub­ were simply saturated with it. When the Founded 44 years ago lic response toward these experiments was American folk singer Pete Seeger came to in the ancient town of lukewarm. Prague in 1963 to give a concert, he was sur­ Uherske Hradiste [in From the beginning of the Communist prised by two things: how many young musi­ the lowland wine regime in 1948, folk music became a sort of cal groups knew American folk songs, and how region], the band state music, propagated everywhere. It was completely uninterested these groups were in combines historical supposed to serve as a barrier against what their own Czech folklore. (Whereas the values and customs was called Western quasi-culture, in which Communist ideology condemned American with contemporary category the Communist cultural ideologues rock-and-roll, it favored American folk songs, influences. included practically all American modern especially when they could - as in the case of music (except, perhaps, for the older jazz of Negro spirituals - offer "proof' of the social Louis Armstrong), clothing, hairstyles, and injustices in American society.) This attitude foods. However ridiculous it may seem today, toward folk music very slowly began to for at least 20 years even Coca-Cola was con­ change, in part because of Seeger's influence. demned in former Czechoslovakia as a symbol The performance of Czech folk songs by of American imperialism. In its authentic ver­ acoustic rock groups who called themselves sion, but more frequently interpreted by styl­ folk or guitar groups was livelier than the state ized and complexly choreographed state ensemble fare, less tradition bound and static. ensembles, folk songs over the radio, on state In the early 1970s rock-and-roll and folk CZECH REPUBLIC songs truly began to relative freedom1 the combination of various mix1 due mainly to national and supranational elements was the inspiration of interesting. Prague itself1 the chief city of two British folk-rock Bohemia1 had been marked for eight centuries groups1 Fairport Con­ by the intermingling of three influences: vention and Steeleye Czech1 German1 and Jewish. Even though this Span. The great popu­ mix was not as apparent in the folk sphere as1 larity of the British for instance1 in literature (Franz Kafka wrote group Jethro Tull here)1 it was also reflected in the music of then brought the some Czech folk singers (Vladimir Merta1 11 harder/1 more elec­ Vlastimil Tfes:iuik) or groups (Mispacha). tric form of folk-rock A kind of typically Bohemian lack of to the Czech Lands. primitive nationalism and an opposite inclina­ Under the folkloric tion toward the supranational values of truth1 Photo by Zdenek Uherek conception of their intelligence/ and professionalism/ along with a 1 Contemporary melodies and Ian Anderson S flute came the sense of humor1 took many folk and rock folklore in the Czech rumble of the bass-guitar1 the percussion musicians onto the balconies during the Republic includes instruments/ and the electric guitar. The 11 Velvet Revolution11 in November 1989. Along stylized revivals of Czech groups Marsyas1 AG Flek1 Etc1 and oth­ with Czech songs1 the hymns of the revolution older traditions often ers1 most of which not only still exist but con­ included American songs with Czech texts1 1 11 1 learned in a formal tinue to evolve and improve1 founded a rela­ Seeger S We Shall Overcome/ and the gospel setting, as well as tively broad stream of Czech folk-rock in song "Little More Faith in Jesus/1in which the grassroots which the Czech elements gradually out­ group Spiritual Quintet led three-quarters of a expressions passed weighed the once-prevalent Anglo-Saxon ones. million demonstrators. It is certainly no coin­ on through family and Economics also played a part in the grow­ cidence that the organizers of the festival of village life. Although ing popularity of diverse forms of folk music: folk and rock music in Lipnice in 1988 provid­ villagers in the the most modern electric guitars1 amplifiers1 ed the dissident and later president1 Vaclav Moravian region wear and keyboard instruments were so expensive Havel- also an enthusiastic supporter of rock their traditional folk for the musicians1 most of them semi-ama­ music and folk singers -his first opportunity dress only on special teurs1 that they preferred music suited to sim­ to appear before the public (to the gnashing of occasions, members pler instruments. One of the reasons that the state security forces1 teeth). of the Radhosf Supraphon and Panton1 the two state record The most successful Czech musician ensemble always companies at that time1 only rarely issued abroad1 the Prague composer1 arranger1 and perform in costume. records of this music was its relatively poor virtuoso synthesizer player Jan Hammer1 now technical quality compared to the official pop a U.S. citizen1 intervened in a marginal but music. On the other hand1 the remove from very interesting way in the fusion of popular the centers of the record industry/ radio1 and and national folk music. After leaving the jazz­ television helped the whole range of folk and rock group Mahavishnu Orchestral Hammer folk-rock music to preserve a certain pristine and the American violinist Jerry Goodman quality. People who liked this type of music recorded the album Like Children (1974); it could usually only hear it live1 in clubs and at included the composition "Country and larger outdoor concerts. It was further dissem­ Eastern MusiC/1 where Hammer uses melodic inated through amateur tape-recordings. Any themes from Moravian Slovakia1 the eastern­ television performances that might have most region of the Czech Republic1 in the spir­ occurred would have presented this music it of Leos Janacek. Hammer moved from this only in its most highly groomed1 least folkloric phase toward the large-format televi­ provocative textual and musical form. sion serials of the "Miami Vice" type. For visitors from the West who sought out However1 20 years later the composer and this underground music scene because of its pianist Emil Viklicky linked jazz to folk songs THE CZECH REPU in a different and more penetrating manner in Czech Lands. Members of groups like the the album Rain is Falling Down (Pr8i dest, Czech Heart (Geske srdce) have played on his 1994), where his combo plays together with records. The appeal of Celtic rock stems not traditional Moravian folk musicians - band only from the strongly melodious Irish, leader and singer Jifi Pavlica, and harpsichord Scottish, Welsh, and Breton songs, but also player and singer Zuzana Lapcikova. perhaps from a certain historical and romanti­ This same Jifi Pavlica, who mostly per­ cized kinship Czechs feel with the Celtic tribes forms traditional folk music from the which had settled in Bohemia in ancient Moravian region of Dolnacko with his own times. Outstanding among these 11 Czech Celts" band HradiSfan, also participated in the is the violinist and composer Jan Hruby (his JIRi CERNY album Vlasta Redl AG Flek + Jifi Pavlica third album is The Burning Rose, 1994) of the has written four books on Czech popular HradiSfan (1994). About half the album con­ group Kukulin. With his eccentric virtuosity music and has worked sists of folk songs from Moravia. Rather than and melodic imagination - again with strong as a radio and TV using the most popular melodies, the album Moravian elements - he goes beyond all anchor. In November features many songs that are not generally Stivell or other Celtic sources. 1989, during the known, unusual in their melody and harmo­ 11 Czech Celts" appear from time to time in "Velvet Revolution," he ny, and thus especially exciting to the aver­ various parts of the Czech Republic, but they served as the press editor for President age listener. Some of the arrangements simul­ probably originated in Prague, where the Vaclav Havers taneously approach hard rock, through Redl's paths of talented musicians often lead and campaign.
Load more

Recommended publications
  • Ceili Rain Erasers on Pencils
    Ceili Rain Biography With the exception of two miserable days as an electrician's assistant, Bob Halligan, Jr. has never held a "day job" in his life. The lead singer, songwriter, guitarist and creative force behind the Celtic-flavored rock band Ceili (KAY-lee) Rain has earned his living—and reputation—as a working musician and songwriter for most of his life. Halligan has parlayed that well-deserved acclaim as a writer into a recording career that has seen the release of three highly praised albums for Ceili Rain, the most recent being the Cross Driven (Provident distribution) release, Erasers On Pencils. Erasers On Pencils is the latest celebrated chapter in a career that has found the Nashville-based band continuing to assert itself on both national and international stages. The album once again finds Halligan utilizing his gift for taking universal themes and distilling their essence into a lyrical approach that is capable of touching an audience on a very personal level. The opener, “Jigorous,” for example, tells the story of an aging woman reveling in life again at the sound of a familiar melody; “The Fighting Chair” uses a fishing analogy to encourage the listener to live life to its fullest; “God Done Good” finds Halligan overcome with thanksgiving for his wife and adopted son. “I have no problem laying bare such personal stories,” Halligan asserts. “What else have I got as a songwriter to offer but myself? I find that the things that really get to me are the things that get to others.” Indeed, Halligan has a knack for taking the big ideas and reducing them to their deepest, most emotional roots.
    [Show full text]
  • Folklore Revival.Indb
    Folklore Revival Movements in Europe post 1950 Shifting Contexts and Perspectives Edited by Daniela Stavělová and Theresa Jill Buckland 1 2 Folklore Revival Movements in Europe post 1950 Shifting Contexts and Perspectives Edited by Daniela Stavělová and Theresa Jill Buckland Institute of Ethnology of the Czech Academy of Sciences Prague 2018 3 Published as a part of the project „Tíha a beztíže folkloru. Folklorní hnutí druhé poloviny 20. století v českých zemích / Weight and Weightlessness of the Folklore. The Folklore Movement of the Second Half of the 20th Century in Czech Lands,“ supported by Czech Science Foundation GA17-26672S. Edited volume based on the results of the International Symposium Folklore revival movement of the second half of the 20th century in shifting cultural, social and political contexts organ- ized by the Institute of Ethnology in cooperation with the Academy of Performing Arts, Prague, October 18.-19., 2017. Peer review: Prof. PaedDr. Bernard Garaj, CSc. Prof. Andriy Nahachewsky, PhD. Editorial Board: PhDr. Barbora Gergelová PhDr. Jana Pospíšilová, Ph.D. PhDr. Jarmila Procházková, Ph.D. Doc. Mgr. Daniela Stavělová, CSc. PhDr. Jiří Woitsch, Ph.D. (Chair) Translations: David Mraček, Ph.D. Proofreading: Zita Skořepová, Ph.D. © Institute of Ethnology of the Czech Academy of Sciences, 2018 ISBN 978-80-88081-22-7 (Etnologický ústav AV ČR, v. v. i., Praha) 4 Table of contents: Preface . 7 Part 1 Politicizing Folklore On the Legal and Political Framework of the Folk Dance Revival Movement in Hungary in the Second Half of the Twentieth Century Lázsló Felföldi . 21 The Power of Tradition(?): Folk Revival Groups as Bearers of Folk Culture Martina Pavlicová.
    [Show full text]
  • Irish Bands of the 60S & 70S | Sample Answer
    Irish Bands of the 60s & 70s | Sample answer Ceoltóiri Cualann was an Irish group formed by Sean O’Riada in 1961. O’Riada had the idea of forming Ceoltóiri Cualann following the success of a group he had put together to perform music for the play “The Song of the Anvil” in 1960. Ceoltóiri Cualann would be a group to play Irish traditional songs with accompaniment and traditional dance tunes and slow airs. All folk music recorded before that time had been highly orchestrated and done in a classical way. Another aim of O’Riada’s was to revitalise the work of harpist and composer Turlough O’Carolan. Ceoltóiri Cualann was launched during a festival in Dublin in 1960 at an event called Recaireacht an Riadaigh and was an immediate success in Dublin. The group mainly played the music of O’Carolan, sean nós style songs and Irish traditional tunes, and O’Riada introduced the bodhrán as a percussion instrument. Ceoltóiri Cualann had ceased playing with any regularity by 1969 but reunited to record “O’Riada” and “O’Riada Sa Gaiety” that year. “O’Riada Sa Gaiety” was not released until after O’Riada’s death in 1971. The members of Ceoltóiri Cualann, some of whom went on to form “The Chieftains” in 1963 were O’Riada (harpsichord and bodhrán), Martin Fay, John Kelly (both fiddle), Paddy Moloney (uilleann pipes), Michael Turbidy (flute), Sonny Brogan, Éamon de Buitléir (both accordian), Ronnie Mc Shane (bones), Peadar Mercer (bodhrán), Seán Ó Sé (tenor voice) and Darach Ó Cathain (sean nós singer. Some examples of their tunes are “O’ Carolan’s Concerto” and “Planxty Irwin”.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
    Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters.
    [Show full text]
  • “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
    “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof.
    [Show full text]
  • Outsiders' Music: Progressive Country, Reggae
    CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C.
    [Show full text]
  • Blauen Folker
    Im Kalender vermerkt? Ausgabe 5/6.2020 ISSN 1435-9634 Unsere blauen Termin- und Postvertriebsstück: Serviceseiten K45876 Webseiten für Termine 04 Folker Corona Angebote 16 Wundertütenschätze CD‘S 18 Minnesang zur Popakademie 19 d Etcetera I 21 Wir suchten Helfer 23 Womex goes digital 2020 24 (se) Ausgerechnet die Gema 25 Die blauen Sicherung des Kulturlebens 26 Wirrwarr um Soforthilfen 27 Ja, ich bin systemrelevant 29 Gaeltacht Irland Reisen 30 Folker- 23 Jahre Folker 31 Irish Folk Festival 2021 32 Redaktionsschluss für die Serviceseiten der Ausgabe 1/21 ist spät. am 10.12.2020. „Termin“- und Oder schon vorher, wenn wir euch online informieren sollen/wollen. Serviceseiten Gerne auch online: www.termine-folk-lied-weltmusik.de Moers, Mitte September 2020 und zu denen die (quasi öffentlich-rechtliche) Bundessteuerberaterkammer fast jede Woche ein Liebe Leserinnen und Leser, Update von Fragen und Antworten veröffentlichen musste, weil die Damen und Herren BeamtenInnen in Was sind das für Zeiten! den vielen beteiligten Ministerien (von den Politikern Kann es sein, dass sie so oder ähnlich bleiben – für wollen wir nicht reden) fast keine Vorschrift länger? auslegungseindeutig oder rechtssicher hingekriegt Corona scheint unser Leben zu beherrschen, das der haben? Das muss man sich mal vorstellen: Da Medien ohnehin. Deshalb halten „Frust, Wut und wurden Anträge (seit 7. Juli) abgegeben – und die Fassungslosigkeit“ an (Siehe letzte „Blaue Seiten“, spezifizierten Auslegungskriterien wurden erst Heft 3+4/2020, und die verkümmerten Terminseiten hinterher veröffentlicht, Stück für Stück, auf zuletzt in der Heftmitte). weiteren 50 Seiten, gut 150 Einzelpunkte. Deshalb „Für viele sogenannte Soloselbstständigen und gibt es einen Beitrag (in den „Blauen Seiten“) mit Freiberufler bleibt es ein Hohn, wenn Olaf Scholz dem Titel „Wirrwarr bei den Hilfen“.
    [Show full text]
  • “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
    “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve.
    [Show full text]
  • Dialectical Interactions Between Culture, History, and the Construction of the Czech Vozembouch
    {12 Constructing the Sound of Devils: Dialectical Interactions between Culture, History, and the Construction of the Czech Vozembouch William Connor Abstract: The vozembouch is a folk playing styles to inform construction instrument that has evolved through decisions. Alongside this individuality, centuries of dialectical interactions however, some staple elements have with Slavic (and Germanic) cultures. been maintained, which contribute The instrument has developed from to the instrument’s almost ubiquitous a percussive bowed single­string familiarity among Czech people. One fiddle to being primarily a percussion of the elements is the use of anthro­ instrument, often constructed without pomorphic/zoomorphic heads to adorn strings, and it has shifted back and the top of the instrument. Often, these forth over time between being a promi­ heads will evoke characters from folk nently used or all­but­extinct instrument tales, most commonly a devil head or in Czech culture. Vozembouchy (pl.) čertí hlava. In this paper, I draw from have evolved from medieval pagan literary sources and my fieldwork with ritual enhancers to minstrel instruments vozembouch makers and players to to percussion reminding some Slavic discuss the ways in which dialectical people of their heritage in troubled engagement of the vozembouch with times, and has been part of a folk music Slavic culture has shaped the evolution revival that has resulted in renewed of its construction, and suggest how interest in traditional performance on a detailed study of the making of this the instrument, as well as new, modern instrument can highlight the devel­ musical directions embraced by play­ opment of the vozembouch’s cultural ers spanning many generations.
    [Show full text]
  • Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
    MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas
    [Show full text]
  • MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
    MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political,
    [Show full text]