Oral Pedagogy, Playful Variation, and Issues of Notation in Khmer Wedding Music

2018 ◽  
Vol 62 (1) ◽  
pp. 104 ◽  
Author(s):  
Jeffrey Dyer
Keyword(s):  
Wedding Music

WEDDING MUSIC AND POETRY FOLKLORE OF THE RUSSIAN POPULATION OF THE SOUTHERN URALS

2020 ◽  
Vol 1 (3) ◽  
pp. 183-188
Author(s):  
N. A. Ursegova ◽  
Keyword(s):  
Southern Urals ◽  
Point Of View ◽  
Russian Population ◽  
The Southern Urals ◽  
Complex Approach ◽  
Republic Of Bashkortostan ◽  
Wedding Songs ◽  
The Republic ◽  
Wedding Music ◽  
Stylistic Unity

The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing of song samples. The complex approach used in the article in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classifications, allows to systematize the repertoire of the Beloretsk wedding, to distinguish two musical and stylistic groups — song-and-lament and song-and-dance groups. Each musical and stylistic group combines a part of the wedding repertoire, which is characterized by a certain set of typical features reflecting the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is conducted at the level of verbal, syllabic, and pitch parameters of chants organization. The found regularities allow to draw a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, providing not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole.

English Wedding Music

1965 ◽  
Vol 106 (1463) ◽  
pp. 53 ◽  
Author(s):  
Jessica M. Kerr
Keyword(s):  
Wedding Music

Wedding Music

Notes ◽  
1953 ◽  
Vol 10 (2) ◽  
pp. 321
Author(s):  
Morton Davenport ◽  
Paul Bunjes
Keyword(s):  
Wedding Music

Cathedral Wedding Music

1967 ◽  
Vol 108 (1492) ◽  
pp. 523
Author(s):  
Basil Ramsey ◽  
St Albans Abbey Choir ◽  
Hurford
Keyword(s):  
Wedding Music

scholarly journals Antique Wedding Music

1895 ◽  
Vol 36 (630) ◽  
pp. 532
Author(s):  
Arthur Nevin
Keyword(s):  
Wedding Music

Marrying Past, Present, and Future

2017 ◽  
Author(s):  
Tanya Merchant
Keyword(s):  
Popular Music ◽  
Central Asia ◽  
Folk Music ◽  
Art Music ◽  
Musical Performance ◽  
Vital Part ◽  
Western Art ◽  
Wide Range ◽  
Wedding Music ◽  
Musical Genres

This chapter examines the ways in which musicians cross the four musical genres in Uzbekistan: maqom, folk music, Western art music, and popular music. Most of the women interviewed for this book interacted with all four genres at some point, and most have strong opinions about each type of practice. The diversity of styles of music present in events associated with Uzbek weddings and the ubiquity of weddings means that they act as unifiers for Tashkenters across disciplinary divides. The chapter first provides an overview of the importance of wedding music throughout Central Asia before discussing the significance of musical performance at weddings. It shows that wedding music is a vital part of the musical economy in Tashkent and is one that involves a wide range of musical styles, including most of those institutionalized in the Uzbek State Conservatory.

Music for the Baroque Clarinet

2020 ◽  
pp. 129-189
Author(s):  
Albert R. Rice
Keyword(s):  
Chamber Music ◽  
Limited Range ◽  
Frequent Use ◽  
Restricted Use ◽  
Wedding Music

This chapter presents an overview of music written by 23 composers representative of a larger repertoire written about 1715 to 1760 for the Baroque clarinet. The works examined include opera, cantata, duos, concertos, wedding music, chamber music, military music, sacred arias, requiem, and motets by Dreux, Vivaldi, Caldara, Faber, Telemann, Handel, Chinzer, Rathgeber, Münster, Glaser, Kölbel, Molter, Sparry, Rameau, Zach, Stark, Johann Stamitz, Graupner, d’Herbain, Pasterwiz, La Borde, Ulbrecht, and Arne. The music is written in a trumpet style characterized by repeated notes, incomplete arpeggios, fanfare motives, limited range, and restricted use of the low register. In works composed after about 1730, a lyrical style of melodic writing takes on a greater importance with scale passages, leaps of an octave or more, and more frequent use of the low register.

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