凹槽与波浪:古巴廷巴琴的周期性与叙述性

IF 0.1 3区 艺术学 0 MUSIC
Orlando Enrique Fiol
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引用次数: 5

摘要

自20世纪90年代初以来,古巴发展了一种流行的舞蹈音乐类型,称为廷巴。受古巴早期流派的结构、乐器和歌曲形式的影响,廷巴也融合了古巴民间音乐、美国爵士乐和放克的元素。在定音鼓编曲的呼唤与回应的单声道部分,重复的钢琴手鼓平衡了循环性和叙述性(vamps或ostinati),与打击乐、号角和人声合作,形成连锁的凹槽。专注于钢琴在定音鼓节奏部分的作用,我追踪钢琴的手势和纹理词汇的发展,探索钢琴的合奏角色如何与低音、打击乐、喇叭和人声相互关联,通过一个基于体裁的历史镜头。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Grooves and Waves: Cyclicity and Narrativity in Cuban Timba Piano
Since the early 1990s, Cuba has developed a popular dance music genre known as timba. Influenced by structures, instrumentation and song forms from earlier Cuban genres, timba also incorporates elements from Cuban folkloric music, American jazz, and funk. During the call-and-response montuno sections of timba arrangements, repeating piano tumbaos balance cyclicity and narrativity (vamps or ostinati) cooperate with percussion, horns, and vocals to form interlocking grooves. Focusing on the piano's role within the timba rhythm section, I trace the development of pianistic gestural and textural vocabularies, exploring how the piano's ensemble role interrelates with those of bass, percussion, horns, and vocals, through a genre-based historicized lens.
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