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Groove Source
Description
The Groove-Source" is a stand-alone rhythmsection of professional musicians, which playing for different international singers/artists.
Single members of this band have played too with well known guys from all over the world, before this project has been started
Single members of this band have played too with well known guys from all over the world, before this project has been started
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Keywords
Date
Feb 15, 2008
Contact name
Andrea Thiesies
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The Groove-Source" is a stand-alone rhythmsection of professional musicians, which playing for different international singers/artists.
Single members of this band have played too with well known guys from all over the world, before this project has been started
Single members of this band have played too with well known guys from all over the world, before this project has been started
Category:
Other links at Music Styles > vocal
The Groove-Source" is a stand-alone rhythmsection of professional musicians, which playing for different international singers/artists.
Single members of this band have played too with well known guys from all over the world, before this project has been started
Single members of this band have played too with well known guys from all over the world, before this project has been started
Category:
American Popular Song
(Howard S. Becker):
The United States produced, over a period of perhaps seventy to eighty years, and most importantly in the first half of the twentieth century, an enormous body of popular music. James Maher estimates, (in Wilder 1972, p. xxxviii) that about 300,000 songs were copyrighted from 1900 to 1950. Before that period, American popular song was an amalgam of derivations from European parlor music and some native ballad traditions, including those of the large black population recently released from slavery. It was meant to be performed in the parlors of middle-class people, who owned and knew how to play pianos, flutes, and violins, and is best represented in the work of Stephen Foster ...
The development of this characteristic American song style coincided with the growth of institutions in which that music, now moved out of the parlors of private homes, could be performed for the public: the vaudeville houses, musical theaters, taverns and night clubs that became increasingly common after the turn of the century. Later, it was a creature of the recording industry, and then radio and the movies. I haven't studied all these matters, and can only guess at how they work. My guesses are based on looking at some of the voluminous literature but, to be truthful, as much on my own experiences growing up in the heyday of this music and performing it for many years as a pianist in dance bands, night clubs, and the like (thus doing my part to prolong the tradition) ...
From paper presented by Howard S. Becker at a 1994 conference discussing the structure of the standard popular song along with its history, songwriters, musicians, and singers. Bibliography.
(Howard S. Becker):
The United States produced, over a period of perhaps seventy to eighty years, and most importantly in the first half of the twentieth century, an enormous body of popular music. James Maher estimates, (in Wilder 1972, p. xxxviii) that about 300,000 songs were copyrighted from 1900 to 1950. Before that period, American popular song was an amalgam of derivations from European parlor music and some native ballad traditions, including those of the large black population recently released from slavery. It was meant to be performed in the parlors of middle-class people, who owned and knew how to play pianos, flutes, and violins, and is best represented in the work of Stephen Foster ...
The development of this characteristic American song style coincided with the growth of institutions in which that music, now moved out of the parlors of private homes, could be performed for the public: the vaudeville houses, musical theaters, taverns and night clubs that became increasingly common after the turn of the century. Later, it was a creature of the recording industry, and then radio and the movies. I haven't studied all these matters, and can only guess at how they work. My guesses are based on looking at some of the voluminous literature but, to be truthful, as much on my own experiences growing up in the heyday of this music and performing it for many years as a pianist in dance bands, night clubs, and the like (thus doing my part to prolong the tradition) ...
From paper presented by Howard S. Becker at a 1994 conference discussing the structure of the standard popular song along with its history, songwriters, musicians, and singers. Bibliography.
Category:
Ian Whitcomb's Literary Corner
: Read some of Ian Whitcomb's various writings.
Ian Whitcomb is a highly respected performer, composer, and music historian. Includes articles on Rudy Vallee, Duke Ellington, Irving Berlin, and the first crooners.
: Read some of Ian Whitcomb's various writings.
Ian Whitcomb is a highly respected performer, composer, and music historian. Includes articles on Rudy Vallee, Duke Ellington, Irving Berlin, and the first crooners.
Category:
Gayaki: This page is about gayaki, the Indian vocal music.
The vocal tradition is especially strong in Indian music. It goes without saying that the song is probably the most ancient form of music. Vocal music occupies a considerable part of the Natya Shastra.
One may argue that the Vedas, especially the Samaveda, is the oldest musical text in India. It is true that the Samaveda is written in a crude musical notation. However, it is probably more appropriate for us to look at contemporary music.
Contemporary musical forms are built up from very well defined structures. These structures such as a primary theme, a secondary theme and other elements form a structured framework in which a largely improvised system of music can work.
There are many genres, some old and some new. Dhrupad and dhammar are some of the oldest in use today; they go back to the Mogul era (circa 16th century). Equally old, but stylistically quite different, is the tarana; this is based upon meaningless syllables. More modern (by Indian standards) are the highly improvised kheyal, dadra, and thumri. Another classical style is the tappa of Punjab ...
The vocal tradition is especially strong in Indian music. It goes without saying that the song is probably the most ancient form of music. Vocal music occupies a considerable part of the Natya Shastra.
One may argue that the Vedas, especially the Samaveda, is the oldest musical text in India. It is true that the Samaveda is written in a crude musical notation. However, it is probably more appropriate for us to look at contemporary music.
Contemporary musical forms are built up from very well defined structures. These structures such as a primary theme, a secondary theme and other elements form a structured framework in which a largely improvised system of music can work.
There are many genres, some old and some new. Dhrupad and dhammar are some of the oldest in use today; they go back to the Mogul era (circa 16th century). Equally old, but stylistically quite different, is the tarana; this is based upon meaningless syllables. More modern (by Indian standards) are the highly improvised kheyal, dadra, and thumri. Another classical style is the tappa of Punjab ...
Category:
5. parlor songs
Parlor Songs: Reminiscences of years gone by. An amazing collection of popular and classical sheet music from the 1800's to the 1940's.
Collection of popular and classical sheet music from the 1800's to the 1940's, cover art, audio samples, composer biographies, and articles on the history, styles, and themes.
Collection of popular and classical sheet music from the 1800's to the 1940's, cover art, audio samples, composer biographies, and articles on the history, styles, and themes.
Category:
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