41-50 of 164 results  for:

  • Peoples and Music Cultures x
  • Musical Concepts, Genres, and Terms x
Clear all


Thomas L. Gayda

[Will; Williams, Hugh; Milos, André]

(b Vienna, Aug 11, 1894; d New York, Dec 10, 1939). Austrian composer, pianist and conductor. Born into a Jewish family of jewellers, he studied with the operetta composer Richard Heuberger, Robert Fuchs, the musicologist Guido Adler and Franz Schreker. After he left the Vienna Music Academy in 1919, his Zwei phantastische Stücke was given its first performance by the Vienna PO. The following year he received a doctorate in music from Vienna University. While he remained initially faithful to the late-Romantic, Impressionist line, he became the first Austrian composer to introduce jazz idioms into his music. His grotesque ballet-pantomime Baby in der Bar (1928) marked him as one of the prime exponents of the Zeitgeist of the Weimar era.

In 1927 Grosz moved to Berlin and became the artistic director of the new Ultraphon record company, quickly building up its catalogue as a conductor, arranger and pianist. He formed a well-known piano duo with Wilhelm Kauffman and toured Europe as a highly-sought accompanist and conductor. When the National Socialists seized power in ...



William Gradante

A Cuban narrative song form. Derived from rural folk tradition, it was still popular in rural and urban areas at the end of the 20th century as a significant popular music genre, part of the canción cubana complex. Characterized by improvised décimas (octosyllabic verse form), it was originally set strophically to traditional Spanish melodies called tonadas. The décimas, often celebrating the local region or amorous in content, characteristically use double meaning to convey subtle, picaresque humour. In two parts, the first in a minor mode, the second major, the guajira is usually accompanied in strict tonic-dominant harmony on various Cuban guitars, originally including the bandurria (flat-backed lute), and claves (two round sticks one knocked on top of the other to beat out key rhythms). Frequent alternation of 3/4 and 6/8 with vertical hemiola and high-pitched vocal melodies are typical. It can also use the punto guajiro form which uses either a fixed pattern or free. When fixed, the guitar or ...


J. Richard Haefer

[juspeña, guitarra quinta]

Five-stringed guitar of Mexico, probably originating in the Tecalitlán area of Jalisco. It was one of the earliest mariachi instruments. It is also colloquially known as quinta or jarana (not to be confused with the jarana huasteca or jarana jarocha). Typically it has a soundbox 33 cm long, 31 cm wide (maximum), and 11 cm deep; a 32 cm neck (4 cm of the fingerboard overlapping flat on the soundboard) with 12 metal frets; and 56 cm string length. The soundhole is decorated with nácar (mother-of-pearl) and wood inlay in a starburst pattern, and the purfling has intricate limoncillo wood inlay. The five wooden pegs are inserted from the rear of the pegboard, which has distinctively curved sides and two open f-holes between the pegs. The woods used to build golpes are the same as those for guitarrones.

Tunings used nowadays including the following: d–g–b–e–a (used by Gaspar Vargas); ...


J. Richard Haefer

Large guitar of Mexico. It is played as the bass instrument in mariachi and other Mexican ensembles. The guitarrón mexicano (literally ‘large Mexican guitar’) is shaped like a guitar but with deep sides and a V-arched back. Typically it has a soundbox 63 cm long with a 48 cm maximum width and maximum depth of 21 cm at the sides plus an additional 9 cm to the apex of the back. The fretless neck terminates in a pegboard with pegs inserted from the rear. A 10 cm soundhole on the ...




Long zither of Korea, the equivalent of the Chinese guqin. It has seven silk strings, and inlaid marks on the soundtable indicating finger positions to obtain harmonic overtones. Nowadays, as with many other traditional Korean instruments, it is used only in Confucian ritual music. Various modern Korean zithers use many more strings; for example, the North Korean ...


Irén Kertész Wilkinson

The music of itinerant groups, predominantly found in Europe but also in other areas, such as the Middle East and South Asia. Most often classified as ‘Gypsy’ – once a derogatory term but more recently the source of political pride – these groups also have their own ethnonyms. The main focus of this article is the music of Roma/Gypsies in Europe, with the aim of underlining similar patterns in their musical practices and processes, that reflect their shared values and ethos. For the music of non-European Gypsies, see under the appropriate country article.

‘Gypsies’ comprise many different groups, but these can be classified into two main categories: the Indian-originated Roma (and Sinti) and the indigenous peripatetic Traveller groups of particular countries and areas. The Roma, whose name is derived from the Romani word man, are also known in different places as Romen, Romani, Rom or Romanichals. Roma is the term implemented by Roma politicians to avoid non-Gypsy derogatory terms such as ‘...


Victoria Lindsay Levine

Double-headed snare drum of the Choctaw people of Mississippi, USA. Presumably modelled after a European instrument given to or captured by the Choctaw during the 1700s, such drums are made from black gum, cyprus, hard pine, poplar, or sweet gum wood and are about 31 cm tall by 25 cm in diameter, although sizes vary. The heads are made of goatskin, sheepskin, or deerskin and are attached to the body by hoops made of hickory wood. The hoops are laced together with strips of deer hide in a V pattern. Two additional strips rest on the unplayed lower head, acting as snares. The male drummer uses a pair of hickory drumsticks about 30 cm long. The drum is played to accompany processions such as dance troupes entering or leaving an arena or ballplayers taking or exiting the field. The Cherokee, Muscogee (Creek), and Yuchi (Euchee) had similar snare drums in the past....


Christopher Smith

(b Paris, Jan 1, 1834; d Paris, May 8, 1908). French librettist . He belonged to a distinguished Jewish family; his uncle was the composer Fromental Halévy, and his father, Léon, was respected in literary circles. On leaving the renowned Lycée Louis-le-Grand in Paris he had little difficulty, despite an unimpressive academic record, in obtaining civil service appointments. Plainly he had both ability and the benefits of patronage. His interests, however, lay in the theatre. Initially he adopted the pseudonym Jules Servières, and later, in 1858, when working with Crémieux on the libretto for Orphée aux enfers (with which Offenbach was to have such a significant success), he is said to have insisted that the credit and the royalties should go to his collaborator; at a time when his prospects in colonial administration were especially promising, he was afraid his reputation might be blighted by association with opéra comique...



J. Richard Haefer


Rasp or scraper of the Yoeme Yaqui Indians of Arizona and Northern Mexico. A hardwood stick about 4 cm wide by 50 to 60 cm long has a series of small grooves cut into the bottom two-thirds. The unnotched part of the stick serves as a handle when the distal end is placed on top of half a gourd about 20 cm diameter, inverted in a pail of water which acts as a resonator. The rasp is scraped by a second stick in time with the singing of the ...


Mary Riemer-Weller

revised by J. Richard Haefer

[u’us hikiat, hiokat]

Scraper of the Tohono O’odham (Papago) Indians of Southern Arizona and Northern Mexico. Two types are used by the O’odham. The hiwculdakuḍ (‘thing with which one rubs’) is made from a stick of hard wood (u:pad [catclaw, Acacia Greggii] or ho’idkam [ironwood, Olneya tesota]) about 50 to 60 cm long and 3 to 5 cm diameter, with 10 to 12 deep notches cut widely apart along the length. The distal end is placed on an inverted basket on the ground that serves as a resonator, and the notches are rubbed with a short stick of the same material, producing a sound like blowing wind and rain. It is used to accompany curing and other ritual songs.

The u’us hikiat (‘jagged wood’, Densmore’s hiokat) is made from segoi (greasewood, Sarcobatus vermiculatus) or kui (mesquite, Prosopis velutina), softer woods yielding a lighter sound. The thin stick has shallow cuts spaced closely together. Though it can be played without a resonator, most performers nowdays use a basket resonator. It is used to accompany ...