1.
Music of France
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The music of France reflects a diverse array of styles. In the field of music, France has produced a number of prominent romantic composers, while folk and popular music have seen the rise of the chanson. The earliest known sound recording device in the world, the phonautograph, was patented in France by Édouard-Léon Scott de Martinville in 1857. France is also the 5th largest market by value in the world, French music history dates back to organum in the 10th century, followed by the Notre Dame School, an organum composition style. By the end of the 12th century, a form of song called the motet arose, in the 14th century, France produced two notable styles of music, Ars Nova and Ars Subtilior. Burgundy, the mostly French-speaking area unified with the Kingdom of France in 1477 and this was followed by the rise of chansons and the Burgundian School. Influential composers included Louis Couperin, François Couperin and Jacques Champion de Chambonnières, Jean Philippe Rameau, a prominent opera composer, wrote an influential treatise on musical theory, especially in the subject of harmony, he also introduced the clarinet into his orchestras. In the late Renaissance and early Baroque period, a type of secular vocal music called Air de cour spread throughout France. The first French opera may be Akébar roi du Mogol, first performed in Carpentras in 1646 and his first was Cadmus from 1673. Lullys forays into operatic tragedy were accompanied by the pinnacle of French theatrical tragedy, led by Corneille and Racine. Lully also developed the beat patterns used by conductors to this day. The French composer, Georges Bizet, composed Carmen, one of the most well known, Claude Balbastre was an organist, harpsichordist and fortepianist. He was one of the most famous musicians of his time, henri-Montan Berton, son of Pierre, is principally remembered as a composer of operas, most of which were first performed at the Opéra-Comique. Chélard earned his living for much of his career as a violist at the Paris Opera and his 1827 opera Macbeth was a flop in Paris, but a great success in Munich. Jeanne-Hippolyte Devismes married the director of the Paris Opéra and her only known works are a song, La Dame Jacinthe, and an opera, Praxitėle, which was a success and ran for 16 performances. Harpsichordist and composer Jacques Duphly contributed to Jean-Jacques Rousseau dictionary, for articles relating to the art of playing the harpsichord, one of the major French composers of the time, and one of the most innovative composers of the early Romantic era, was Hector Berlioz. In the late 19th century, pioneers such as Georges Bizet, Jules Massenet, Gabriel Fauré, Maurice Ravel, the last two had an enormous impact on 20th-century music - both in France and abroad - and influenced many major composers such as Béla Bartók and Igor Stravinsky. Erik Satie was also a significant composer from that era
2.
Gregorian chant
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Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, although popular legend credits Pope St. Gregory the Great with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, the scale patterns are organized against a background pattern formed of conjunct and disjunct tetrachords, producing a larger pitch system called the gamut. The chants can be sung by using six-note patterns called hexachords, Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. Multi-voice elaborations of Gregorian chant, known as organum, were a stage in the development of Western polyphony. Gregorian chant was sung by choirs of men and boys in churches. It is the music of the Roman Rite, performed in the Mass, although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence, singing has been part of the Christian liturgy since the earliest days of the Church. Until the mid-1990s, it was accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual. However, early Christian rites did incorporate elements of Jewish worship that survived in later chant tradition, canonical hours have their roots in Jewish prayer hours. Amen and alleluia come from Hebrew, and the threefold sanctus derives from the threefold kadosh of the Kedushah, the New Testament mentions singing hymns during the Last Supper, When they had sung the hymn, they went out to the Mount of Olives Matthew 26.30. The 3rd-century Greek Oxyrhynchus hymn survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain, musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The Apostolic Tradition, attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian agape feasts, around 375, antiphonal psalmody became popular in the Christian East, in 386, St. Ambrose introduced this practice to the West. In the fifth century, a school, the Schola Cantorum, was founded at Rome to provide training in church musicianship. Scholars are still debating how plainchant developed during the 5th through the 9th centuries, around 410, St. Augustine described the responsorial singing of a Gradual psalm at Mass. 520, Benedict of Nursia established what is called the rule of St. Benedict, around 678, Roman chant was taught at York. Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles, Spain, Gaul and these traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western Roman Empire collapsed. John the Deacon, biographer of Pope Gregory I, modestly claimed that the saint compiled a patchwork antiphonary, unsurprisingly and he reorganized the Schola Cantorum and established a more uniform standard in church services, gathering chants from among the regional traditions as widely as he could manage
3.
French opera
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French opera is one of Europes most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Bizet, Debussy, Poulenc and Messiaen. Many foreign-born composers have played a part in the French tradition as well, including Lully, Gluck, Salieri, Cherubini, Rossini, Meyerbeer, Offenbach, Lully and his librettist Quinault created tragédie en musique, a form in which dance music and choral writing were particularly prominent. Lullys most important successor was Rameau, after Rameaus death, the German Gluck was persuaded to produce six operas for the Parisian stage in the 1770s. They show the influence of Rameau, but simplified and with focus on the drama. At the same time, by the middle of the 18th century another genre was gaining popularity in France, opéra comique, by the 1820s, Gluckian influence in France had given way to a taste for the operas of Rossini. Rossinis Guillaume Tell helped found the new genre of Grand opera, lighter opéra comique also enjoyed tremendous success in the hands of Boïeldieu, Auber and others. In this climate, the operas of the French-born composer Hector Berlioz struggled to gain a hearing, berliozs epic masterpiece Les Troyens, the culmination of the Gluckian tradition, was not given a full performance for almost a hundred years after it was written. At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition, perhaps the most interesting response to Wagnerian influence was Claude Debussys unique operatic masterpiece Pelléas et Mélisande. Other notable 20th-century names include Ravel, Poulenc and Messiaen, the first operas to be staged in France were imported from Italy, beginning with Francesco Sacratis La finta pazza in 1645. French audiences gave them a lukewarm reception, when two Italian operas, Francesco Cavallis Xerse and Ercole amante, proved failures in Paris in 1660 and 1662, the prospects of opera flourishing in France looked remote. In 1669, Pierre Perrin founded the Académie dOpéra and, in collaboration with the composer Robert Cambert and their first effort, Pomone, appeared on stage on 3 March 1671 and was followed a year later by Les peines et plaisirs de lamour. At this point King Louis XIV transferred the privilege of producing operas from Perrin to Jean-Baptiste Lully, Lully, a Florentine, was already the favourite musician of the king, who had assumed full royal powers in 1661 and was intent on refashioning French culture in his image. Lully had an instinct for knowing exactly what would satisfy the taste of his master. He had already composed music for extravagant court entertainments as well as for the theatre, yet Molière and Lully had quarrelled bitterly and the composer found a new and more pliable collaborator in Philippe Quinault, who would write the libretti for all but two of Lullys operas. On 27 April 1673, Lullys Cadmus et Hermione – often regarded as the first French opera in the sense of the term – appeared in Paris. It was a work in a new genre, which its creators Lully and Quinault baptised tragédie en musique, a form of opera specially adapted for French taste. Lully went on to produce tragédies en musique at the rate of at least one a year until his death in 1687, as the name suggests, tragédie en musique was modelled on the French Classical tragedy of Corneille and Racine. Lully and Quinault replaced the confusingly elaborate Baroque plots favoured by the Italians with a much clearer five-act structure, each of the five acts generally followed a regular pattern
4.
French folk music
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As Europe experienced a wave of roots revivals in the 1950s and 1960s, France found its regional culture reviving traditional music. Brittany, Limousin, Gascony, Corsica and Auvergne were among the regions that experienced a resurgence in the popularity of folk music. Traditional styles of music had survived most in remote areas, such as the island of Corsica and mountainous Auvergne, as well as the more nationalist lands of the Basques, in many cases, folk traditions were revived in relatively recent years to cater to tourists. These groupes folkloriques tend to focus on very early 20th century melodies, Auvergne is known for cabrette bagpipes. The cabrette is a made of goatskin and without drones. They play both regrets, bourrées and swift, 3/8 dance music, joseph Canteloube was a well-known composer from Auvergne in the early 20th century, and produced a famous collection of folk music called Songs of the Auvergne. Béarns revivalist scene has been limited in scope, though it has produced the nationally renowned singer Marilis Orionaa. Traditional instruments from the area include the tambour de Béarn, a drum used as a rhythm drone instrument to accompany the three-holed recorder. Gascon small pipes, called boha, are a part of the local scene. They have a rectangular chanter and drone combination, which is unique to Gascony, Languedoc is home to several unusual instruments, including the bodega, a kind of bagpipe, and the aboès and graille, both kinds of oboes. The bodega is made out of goatskin, using a process in which the innards of the animal are removed through the neck so that the entire. It has only one large shoulder drone, the bodega is known from at least the 14th century. Popular traditional groups from Languedoc include Calabrun, Trencavel, Laurent Audemards Une Anche Passe, Limousin is known for its violin music, as well as the chabrette bagpipe. Eric Montbel is the biggest star of Limousin folk, while Françoise Etay, Jean Pierre Champeval, Olivier Durif, Valentin Clastrier, instruments include the cabrette bagpipe and the ancient army fife, pifre. The hurdy-gurdy in Limousin has been extended to avant-garde styles utilizing electronic music, jazz and other influences, including Pascal Lefeuvre, Dominique Regef, performers include Patrice Cornte, Yves Rousguisto and André Gabriel. Dauphiné also features one of the rare sword dances that have stood the test of time, the southwestern region of Roussillons music is shaped by its unique ethnicities, and includes forms of Catalan and Gypsy music. The former includes the sardana and is based around the city of Perpignan, the sardana is played by a band consisting of three kinds of oboes, flutes and other instrument, including shawms and bagpipes among some recent revivalists. Modern traditional performers include Cobla Mil-Lenaria, La Cobla de Joglars, Els Ministrles del Rossellano, free scores by French folk music at the International Music Score Library Project
5.
Chanson
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A chanson is in general any lyric-driven French song, usually polyphonic and secular. A singer specializing in chansons is known as a chanteur or chanteuse, the earliest chansons were the epic poems performed to simple monophonic melodies by a professional class of jongleurs or ménestrels. These usually recounted the deeds of past heroes, legendary. The Song of Roland is the most famous of these, the chanson courtoise or grand chant was an early form of monophonic chanson, the chief lyric poetic genre of the trouvères. It was an adaptation to Old French of the Occitan canso and it was practised in the twelfth and thirteenth centuries. Thematically, as its name implies, it was a song of courtly love, some later chansons were polyphonic and some had refrains and were called chansons avec des refrains. A Crusade song was known as a chanson de croisade, in its typical specialized usage, the word chanson refers to a polyphonic French song of the late Middle Ages and Renaissance. Early chansons tended to be in one of the formes fixes—ballade, the earliest chansons were for two, three or four voices, with first three becoming the norm, expanding to four voices by the sixteenth century. Sometimes, the singers were accompanied by instruments, the first important composer of chansons was Guillaume de Machaut, who composed three-voice works in the formes fixes during the 14th century. Guillaume Dufay and Gilles Binchois, who wrote so-called Burgundian chansons, were the most important chanson composers of the next generation and their chansons, while somewhat simple in style, are also generally in three voices with a structural tenor. Musicologist David Fallows includes the Burgundian repertoire in A Catalogue of Polyphonic Songs 1415-1480 and these works are typically still 3 voices, with an active upper voice pitched above two lower voices usually sharing the same range. The first book of music printed from movable type was Harmonice Musices Odhecaton and this genre sometimes featured music that was meant to be evocative of certain imagery such as birds or the marketplace. Many of these Parisian works were published by Pierre Attaingnant, composers of their generation, as well as later composers, such as Orlando de Lassus, were influenced by the Italian madrigal. Many early instrumental works were ornamented variations on chansons, with this becoming the canzone. French solo song developed in the late 16th century, probably from the aforementioned Parisian works, louis Niedermeyer, under the particular spell of Schubert, was a pivotal figure in this movement, followed by Édouard Lalo, Felicien David and many others. Another offshoot of chanson, called chanson réaliste, was a musical genre in France. Among the better-known performers of the genre are Damia, Fréhel, chanson can be distinguished from the rest of French pop music by following the rhythms of French language, rather than those of English, and a higher standard for lyrics. Canzone Russian chanson French historical chanson panorama Brown, Howard Mayer, in The Oxford Companion to Music, edited by Alison Latham
6.
Cancan
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The can-can is a high-energy, physically demanding dance which became a popular music hall dance in the 1840s, continuing in popularity in French cabaret to this day. Originally danced by both sexes, it is now associated with a chorus line of female dancers. The main features of the dance are the high kicks, splits, the Infernal Galop from Jacques Offenbachs Orpheus in the Underworld is the tune most associated with the can-can. The name can-can may be derived from the French for tittle-tattle or scandal, however, the dance was also referred to as the coin-coin and this may have become corrupted into can-can. In its early days, the dance was called the chahut. The cancan is believed to have evolved from the figure in the quadrille. The dance was considered scandalous, and for a while, there were attempts to repress it and this may have been partly because in the 19th century, women wore pantalettes, which had an open crotch, meaning that a high kick could be unintentionally revealing. There is no evidence that cancan dancers wore special closed underwear, occasionally, people dancing the cancan were arrested, but there is no record of it being banned, as some accounts claim. Throughout the 1830s, it was often groups of men, particularly students, as the dance became more popular, professional performers emerged, although it was still danced by individuals not by a chorus line. A few men became cancan stars in the 1840s to 1861, however women performers were much more widely known. This was a combination of the style of the Parisian dance-halls. In United States and elsewhere, the cancan achieved popularity in music halls, the main moves are the high kick or battement, the rond de jambe, the port darmes, the cartwheel and the grand écart. It has become practice for dancers to scream and yelp while performing the cancan. The cancan was introduced in America on December 23rd,1867 by Giuseppina Morlacchi and it was billed as. Grand Gallop Can-Can, composed and danced by Mlles. Morlacchi, Blasina, Diani, Ricci, Baretta. accompanied with cymbals and triangles by the coryphees, the new dance received an enthusiastic reception. By the 1890s the cancan was out of style in New York dance halls, the cancan became popular in Alaska and Yukon, Canada where theatrical performances feature cancan dancers to the present day. The cancan is now considered a part of dance culture. Often the main feature observed today is how physically demanding and tiring the dance is to perform, when the dance first appeared in the early 19th century, it was considered a scandalous dance, similar to how rock and roll was perceived in the 1950s
7.
Bal-musette
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Bal-musette is a style of French music and dance that first became popular in Paris in the 1880s. Parisian and Italian musicians who played the accordion adopted the style and these places often were frequented by members of the French upper-class looking for excitement among the poor and downtrodden. Some establishments even staged mock police raids for their patrons benefit, performers of this era include Antoine Bouscatel, Émile Vacher, Martin Cayla, Charles Péguri, and Gus Viseur. Musette dance forms arose from people looking for easier, faster and more sensual dance steps, an original musette dance also appeared, known as java. Admission to most bals was free, but dancers bought dance tokens at the cash-desk and these tokens were made of metal in various shapes with the name of the hall stamped on one side. In the middle of the dance, the bal director walked between the couples with a bag and the dancers turned-in a token, by 1945, the bal-musette became the most popular style of dance in France and its biggest stars were widely known across the country. Its popularity declined drastically beginning around 1960, a revival of bals has begun, especially in larger cities, and a modern form of the musette is establishing itself. Amandine Dewaele, Les origines du bal musette, Paris 8e, roger Chenault, La danse musette, Courbevoie, Author edition. Web site of Jo Privat, a French musette accordion player
8.
Cabaret
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Cabaret is a form of entertainment featuring music, song, dance, recitation, or drama. It is mainly distinguished by the venue, which might be a pub. The audience, often dining or drinking, does not typically dance, performances are usually introduced by a master of ceremonies or MC. The entertainment, as done by an ensemble of actors and according to its European origins, is oriented towards adult audiences. In the United States striptease, burlesque, drag shows, or a solo vocalist with a pianist, the word cabaret was first used in 1655. It is derived from tavern probably from Middle Dutch cambret, the word cabaret came to mean a restaurant or night club by 1912. Cabaret can be divided in 10 different types. However, these are artificial dividing lines, cabaret shows are most of the time a compound of elements from the different types, the cabaret performer plays with language, sometimes poetic, but often is he or she rock hard and hateful. The cabaret performer analyses in his/her stubborn manner actual, social and political topics, the cabaret performer tells an often slightly absurd story with a moral packed in it. The cabaret performer plays with music, for example by twisting or combining familiar melodies, the cabaret performer tells nonsensical and absurd stories and plays idiotic types. The emphasis is less on text in the show of cabaret performer. Here the cabaret performer eludes on his liberating through laughter role, an iteration of storytelling cabaret The cabaret performer quickly switches between the different styles/types of cabaret, types, or songs. In this the cabaret performer is a guest at a government, institution or a company, cabarets existed in Paris in the 16th century, they were ancestors of the modern restaurant. Unlike taverns they sold wine not by itself but only with a meal, customers might sing if they had drunk enough wine, but early cabarets did not have formal programs of entertainment. Cabarets were frequently used as meeting places for writers and artists, in 1773 French poets, painters, musicians and writers began to meet in a cabaret called Le Caveau on rue de Buci, where they composed and sang songs. The Caveau continued until 1816, when it was forced to close because its clients wrote songs mocking the royal government, in the 18th century the café-concert or café-chantant appeared, which offered food along with music, singers, or magicians. The most famous was the Cafe des Aveugles in the cellars of the Palais-Royal, in the early 19th century many cafés-chantants appeared around the city, the most famous were the Café des Ambassadeurs on the Champs-Élysées and the Eldorado on boulevard Strasbourg. By 1900 there were more than 150 cafés-chantants in Paris, the first cabaret in the modern sense was Le Chat Noir in the Bohemian neighborhood of Montmartre, created in 1881 by Rodolphe Salis, a theatrical agent and entrepreneur
9.
French electronic music
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French electronic music, a panorama of French music that employs electronic musical instruments and electronic music technology in its production. Among the famous artists include Jean-Michel Jarre, Air, Daft Punk, Justice. The earliest known sound recording device was the phonautograph, patented in 1857 by Édouard-Léon Scott de Martinville, in 1928, the Ondes Martenot was invented by Maurice Martenot, who debuted it in Paris. This electronic musical instrument was most famously used in the Turangalîla-Symphonie by Olivier Messiaen as well as works by him. The Ondes Martenot was also used by composers such as Andre Jolivet, Pierre Boulez, Arthur Honegger, Charles Koechlin, Darius Milhaud, Gilles Tremblay. His work laid the foundations of the Musique concrète and this technique involved editing together recorded fragments of natural and industrial sounds. The first pieces of musique concrète in Paris were assembled by him, on 5 October 1948, Radiodiffusion Française broadcast composer Pierre Schaeffers Etude aux chemins de fer. This was the first movement of Cinq études de bruits, and marked the beginning of studio realizations, Schaeffer employed a disk-cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, Henry began collaborating with Schaeffer, a partnership that would have profound, another associate of Schaeffer, Edgard Varèse, began work on Déserts, a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffers studio, and were revised at Columbia University. In 1950, Schaeffer gave the first public concert of musique concrète at the Ecole Normale de Musique de Paris, Schaeffer used a PA system, several turntables, and mixers. Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul the first major work of musique concrete, in Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, Orpheus, for concrete sounds, in 1970, the President of France Georges Pompidou asked to the composer Pierre Boulez to found an institution for research in new forms of music. The Institut de Recherche et Coordination Acoustique/Musique was created under his direction, since then, IRCAM has been an avant-garde institute for science about music, sound and electro-acoustical art music in France. In 1969, La cage/Erosmachine is an early electronic music work by Jean-Michel Jarre who become worldwide famous with the album Oxygene in 1976. Among other experimental we can cite Igor Wakhevitch with Hathor and François de Roubaix for the soundtrack of the Jacques-Yves Cousteaufilm Antartique. The space music and space disco become popular with Space, Magic Fly, Cerrone, Supernature, Droïds, The force, the following one in the late 70s and early 80s were notably Philippe Laurent aka Hot Bip and René Roussel with Caramel. French touch French music Electronic music
10.
Celtic music
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Celtic music is a broad grouping of music genres that evolved out of the folk music traditions of the Celtic people of Western Europe. It refers to both orally-transmitted traditional music and recorded music and the styles vary considerably to include everything from music to a wide range of hybrids. Celtic music means two things mainly, first, it is the music of the peoples identifying themselves as Celts. Secondly, it refers to whatever qualities may be unique to the musics of the Celtic Nations, many notable Celtic musicians such as Alan Stivell and Paddy Moloney claim that the different Celtic musics have much in common. These common melodic practices may be used widely across Celtic Music, It is common for the line to move up. There are a number of reasons for this, Melodic variation can be easily introduced. Melodic variation is used in Celtic music, especially by the pipes. The relatively wider tonal intervals in some songs make it possible for stress accents within the line to be more in keeping with the local Celtic accent. By more than one Celtic language population belonging to different Celtic groups and these two latter usage patterns may simply be remnants of formerly widespread melodic practices. The definition is complicated by the fact that Irish independence has allowed Ireland to promote Celtic music as a specifically Irish product. However, these are modern geographical references to a people who share a common Celtic ancestry and consequently, additionally, the musics of ethnically Celtic peoples abroad are vibrant, especially in Canada and the United States. In Canada the provinces of Atlantic Canada are known for being a home of Celtic music, most notably on the islands of Newfoundland, Cape Breton and Prince Edward Island. The traditional music of Atlantic Canada is heavily influenced by the Irish, Scottish, in some parts of Atlantic Canada, such as Newfoundland, Celtic music is as or more popular than in the old country. Much of the music of this region is Celtic in nature, in Celtic Music, A Complete Guide, June Skinner Sawyers acknowledges six Celtic nationalities divided into two groups according to their linguistic heritage. The Q-Celtic nationalities are the Irish, Scottish and Manx peoples, while the P-Celtic groups are the Cornish, Bretons, there is also tremendous variation between Celtic regions. Ireland, Scotland, Brittany and Wales have living traditions of language and music, and there has been a recent major revival of interest in Celtic heritage in Cornwall, Galicia has a Celtic language revival movement to revive the Q-Celtic Gallaic language used into Roman times. Most of the Iberian Peninsula had a similar Celtic language in pre-Roman times, a Brythonic language was used in parts of Galicia and Asturias into early Medieval times brought by Britons fleeing the Anglo-Saxon invasions via Brittany. The Romance language currently spoken in Galicia, Galician is closely related to the Portuguese language used mainly in Brazil, Galician music is claimed to be Celtic
11.
List of music festivals
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A music festival is a festival oriented towards music that is sometimes presented with a theme such as musical genre, nationality, or locality of musicians, or holiday. They are commonly held outdoors, and are inclusive of other attractions such as food and merchandise vending, performance art. Many festivals are annual, or repeat at some other interval, some, including many rock festivals, are held only once. Some festivals are organized as for-profit concerts and others are benefits for a specific cause, another type of music festival is the educative type, organized annually in local communities, regionally, or nationally, for the benefit of amateur musicians of all ages and grades of achievement. The Pythian Games at Delphi included musical performances, and may be one of the earliest festivals known, during the Middle Ages, festivals were often held as competitions. Entrants perform prepared pieces in front of an audience which includes competitors and they also usually receive a certificate, classified according to merit, and some may win trophies. The competitive element is played down, however, as the important aspect is that participants can learn from one another. Such festivals aim to provide a friendly and supportive platform for musicians to share in the excitement of making music, for many, they provide a bridge from lessons and examinations to performing confidently in public. Milwaukee, Wisconsins 11-day event, Summerfest, promotes itself as The Worlds Largest Music Festival, operating annually since 1968, the festival attracts between 800,000 and 1,000,000 people each year, and hosts over 800 musical acts. The Woodstock Festival in 1969 drew nearly 500,000 attendees, the largest annual greenfield music festival in the world is Roskilde Festival in Denmark, which attracts about 135,000 spectators each year. Glastonbury Festival has a capacity of about 175,000 spectators, for a more complete listing of active and defunct festivals by region, see Category, Music festivals by country. Some sections may also have links to related lists of music festivals by country, L. my.1 Festival, Biddinghuizen Dekmantel, Amsterdam Festival Mundial, Tilburg Incubate, Tilburg Le Guess Who. Born 1985 Salas Principales Auditorio Alfredo Kraus, Las Palmas y Auditorio Adán Martin, Tenerife. com – The most extensive music festival listings
12.
Printemps de Bourges
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Le Printemps de Bourges is an annual music festival that is held in Bourges, France, over the course of five days. It is now an event in France and Europe. The festival was created in 1977, with its span of 35 years, its history reflects musical trends and evolution over time. Every springtime, thousands of spectators come from all parts of France, the festival encompasses some 60 shows, with over 200 artists on 13 stages within a week, these shows represent diverse genres, and both well-known artists and young musical talents. The ever-growing public is composed primarily of people, and over 200,000 people attend the festival each year. Music professionals are present to recruit new talents, the festival also attracts media professionals, numbering over 500 each year. A parallel festival is hosted in the city, called Les Découvertes du Printemps de Bourges, many bars and restaurants also host a multitude of gigs through a partnership with le Printemps de Bourges. List of historic rock festivals Live Printemps de Bourges 2002, by Jean-Michel Jarre Official site Media related to Printemps de Bourges at Wikimedia Commons
13.
Francofolies de La Rochelle
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Les Francofolies de la Rochelle is an annual music festival founded in 1985 in La Rochelle, France as an initiative of Jean-Louis Foulquier. It is usually held in the month of July of every year, number of those attending the festival has exceeded 150,000 in 2007. Founder Jean-Louis Foulquier went on to establish Les FrancoFolies de Montréal in 1989, jean-louis Foulquier founder of the festival died December 10,2013 following a long illness. Les FrancoFolies de Montréal Les Francofolies de Spa Official site of Francofolies de la Rochelle
14.
Hellfest (French music festival)
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Hellfest, also called Hellfest Summer Open Air, is a French music festival specializing in heavy metal, held annually in June in Clisson in Loire-Atlantique. Its high attendance makes it one of the greatest French music festivals and it is also one of the biggest festivals of metal in Europe and the first in France. The festival was the successor of Fury Fest, which was held in 2002 and 2003 in Clisson and Nantes respectively, in June 2009, numerous groups concerned about the concert name asked the festival sponsors to disengage from Hellfest. Coca-Cola announced a few days later that they no longer support the festival. The same month, former minister and leader of the Parti chrétien-démocrate Christine Boutin wrote to Kronenbourg asking them to supporting the festival. The 30 March, questioned by deputy Patrick Roy, the minister Frédéric Mitterrand declared to the Assemblée Nationale that the detractors of the festival should calm down, during the 2011 edition an homage was paid to Patrick Roy who died two months before. On June 9,2010, the AFC sued the Hellfest, asking not to allow people under 18 years old to attend the festival. On June 14, the judge refused their demand, the first association was created in 2000 in Clisson as CLS CREW, in order to organize concerts of hardcore and punk in the region of Nantes. It allows to program groups like Arkangel or Poison the Well, the success of these concerts makes possible the launch the first festival in June 2002, named Fury Fest. It gathers 400 people to attend Agnostic Front, in Clisson, the festival continued the following years. It attracts 7,000 people to attend concerts of Sick of It All, the format changes to two days. Because no room was available in Clisson, Hall of Trocardière hosts this second edition, the organization of the festival also changes, the MAN. IN. FEST association was created to take charge of the organization. The 2003 has reached €30,000 profit, allowing Benjamin Barbaud, one of the founders, in 2004, the festival moved to Le Mans and stands in the halls of the 24 Hours circuit where it attracts 21,000 spectators to Slipknot and Soulfly. After a deficit in 2004, the 2005 inheriting liabilities, the team decided to give the rights of the festival to others promoters. This time 30,000 entries are recorded at Le Mans in three days, to concerts of Slayer, Motörhead and Anthrax on three stages. But financial problems worsen, with the disappearance of promoters with €600000 recipe, official website Pictures of Hellfest 2009
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Festival Interceltique de Lorient
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The Festival Interceltique de Lorient, Gouelioù Etrekeltiek An Oriant or Inter-Celtic Festival of Lorient in English, is an annual Celtic festival, located in the city of Lorient, Brittany, France. It was founded in 1971 by Polig Montjarret, participants come from Brittany, Ireland, Scotland, Cornwall, Wales, Cumbria, the Isle of Man, Cape Breton Island, Galicia, Asturias, Acadia, and the entire Celtic diaspora. The main festival sites are located throughout the city, the more formal events take place at the Palais des Congrès, Grand Théâtre or Église Saint Louis. The larger events take place at the Parc du Moustoir, the Port de Pêche or in grand marquees, the finals of the National Bagadoù Championship takes place at the Parc de Moustoir during the first weekend of the festival, with strong competition between Brittany’s finest pipebands. In addition individual competitions take place for pipers, for those early risers, Master classes take place each morning with some of the world’s premier harpists, accordionists, fiddlers and pipers. Throughout the festival the “Village Celtique” or “Marc’had Etrekeltiek” is open in the centre of the city offering food, music and literature, clothing and crafts. On the final Saturday of the festival the focus returns to the fishing harbour for the Nuit de Port de Pêche, featuring the best of Brittany’s folk. There is, of course, much activity on the fringe, with musicians giving free performances in many of the city’s bars. Brittany was the country, for the 40th year of the festival. The Irish group The Cranberries played at the concert at the fishing port. V. V
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Rock en Seine
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The Rock en Seine festival is a three-day rock music festival, held at Domaine National de Saint-Cloud, the Château de Saint-Clouds park, west of Paris, inside the garden designed by André Le Nôtre. The name is a pun, based on exactly the same pronunciation in French of the words scène meaning stage, the park and the garden, was designed by Le Nôtre in the 17th century, and its the first park to be classed as a Monument historique in 1994. It is a 4.6 km² park, and there are gardens and forest with basins, thickets and she never arrived to the festival site, despite her support musicians being there. A Madness, who played earlier, replaced headliners Oasis, cancelled after a fight between the Gallagher brothers backstage, B Replaced Esser A Replaced Young the Giant B Replaced Q Tip http, //www. rockenseine. com/timeline/ Official website Official blog
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Vieilles Charrues Festival
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The Vieilles Charrues Festival is held every year in mid-July in the city of Carhaix located in the west of Brittany, France. This festival is the largest music festival in France, attracting more than 200,000 festival-goers every year and this festival was created in 1992 in Landeleau, a small village in central Finistère. At that time, less than 500 revellers attended and the festival was more like a private party, the following year, the festival welcomed more than 2000 and that was the beginning of its success story. In 1995, due to lack of space on the site, the festival moved to Carhaix city center and in 1998, for the same reason. In October 2016 the festival organizes a concert at Central Park in New York City in tribute to the many Bretons who were immigrants to the city in the nineteenth century. Each year, more than 5,500 volunteers enable the festival to be a success, with their actions in the bars, restaurants. The festival thanks them by giving money to local associations, the organizers also helped to finance Hall Glenmor, a concert hall, and to renovate the Château de Kerampuil, a castle located near the site of the festival. U. B. A. O. D. Friday, July 15, Eddy Mitchell, David Guetta, M. I. A, July 15–18 Thursday, July 15, Muse, Jacques Dutronc, Mr Oizo, Revolver, The Raveonettes. Team, Dub Incorporation, Simian Mobile Disco, Brisa Roché, Crystal Castles, Does It Offend You, Friday, March 9, Miossec, Constance Verluca Saturday, March 10, Renan Luce, Brisa Roché, Babet, John Lord Fonda, Yelle, datA, Débruit. Sunday, March 11, Mayra Andrade, Ozan Trio In 2007 the summer festival lasted 4 days, July 19–22asso. frThursday, July 20, Johnny Hallyday, Mauss, Les Têtes Raides Friday, July 21, Placebo, Raphael, Rhesus. S. E. M. Saturday, Charles Trenet, Louise Attaque, Johnny Clegg & Bagad Kemper, The Gladiators, Zebda, sunday, Iggy Pop, Bernard Lavilliers, Shane Mac Gowam & The Popes, Yuri Buenaventura, Pigalle, Trio Roland Becker, FAB, Didier Squiban, Tyour Gnawa. July 4,5, 6asso. fr Friday, Jane Birkin, Nada Surf, Miossec, Blankass, Saturday, Simple Minds, Linton Kwesi Johnson, Bagadou du Tonnerre, Marousse, Bates Motel. Sunday, James Brown, Claude Nougaro, Diaouled ar Menez, Doo the Doo, Spontus July 5,6 and 7asso. fr Miossec, Bernard Lavilliers, Zebda, Les Innocents, Maxime Le Forestier, Frank Black, Ouf La Puce. Marcel et Son Orchestre, Red Cardell, Tayfa, Boulequies et Sonotones, Ar re Yaouank, Gwenchlan, Oxyde de Cuivre, held at Landeleau asso. fr Les Satellites, Dolly, Oy Ventilo, Les Raouls j’te Pousse, Scotch Snap, La Folyre. Landeleau asso. fr Les Pires, Oy Ventilo, La Folyre, Soft Touch Band, Students Brass Band, no concert poster nor list available. Glenmor stage is the biggest stage of the festival and it is named after Emile Le Scanff, also known as Glenmor. With a total area of 1,000 m², Glenmor stage is one of the largest French stages. As every other stage of the festival, Glenmor stage is set up before each occasion of the festival, Kerouac stage is the second stage of the festival
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National anthem
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The majority of national anthems are either marches or hymns in style. The countries of Latin America tend towards more operatic pieces, while a handful of countries use a simple fanfare, a national anthem is usually in the national or most common language of the country, whether de facto or official, there are notable exceptions. Amhrán na bhFiann, the anthem of the Republic of Ireland, was written in English, the current national anthem of South Africa is unique in that five of the countrys eleven official languages are used in the same anthem. One of the two national anthems of New Zealand, God Defend New Zealand, is commonly now sung with the first verse in Māori. The tune is the same but the words are not a translation of each other. God Bless Fiji has lyrics in English and Fijian which are not translations of each other, although official, the Fijian version is rarely sung, and it is usually the English version that is performed at international sporting events. There are several countries that do not have official lyrics to their anthems, one of these is the Marcha Real, the anthem of Spain. In 2007 a national competition to write words was held, other anthems with no words include Inno Nazionale della Repubblica, the anthem of San Marino, and that of Kosovo, entitled Europe. National anthems rose to prominence in Europe during the 19th century, the oldest national anthem belongs to the Netherlands and is called the Wilhelmus. It was written between 1568 and 1572 during the Dutch Revolt, but did not become the anthem until 1932. The Japanese anthem, Kimigayo, has the oldest lyrics, which were taken from a Heian period poem, in contrast, the music of Qaumi Taranah, Pakistans national anthem was composed in 1949, preceding its lyrics, which were written in 1952. The Philippine anthem Lupang Hinirang was composed in 1898 as wordless incidental music for the ceremony declaring independence from the Spanish Empire, the Spanish poem Filipinas was written the following year to serve as the anthems lyrics, the current Tagalog version dates to 1962. Spains national anthem, the Marcha Real, written in 1761, was among the first to be adopted as such, in 1770. Denmark adopted the older of its two national anthems, Kong Christian stod ved højen mast, in 1780, and La Marseillaise, Serbia became the first Eastern European nation to have a national anthem – Rise up, Serbia. – in 1804. Ee Mungu Nguvu Yetu, the anthem of Kenya, is one of the first national anthems to be specifically commissioned. It was written by the Kenyan Anthem Commission in 1963 to serve as the anthem after independence from the United Kingdom, National anthems are used in a wide array of contexts. Certain etiquette may be involved in the playing of a countrys anthem and these usually involve military honours, standing up/rising, removing headwear etc. In diplomatic situations the rules may be very formal, there may also be royal anthems, presidential anthems, state anthems etc. for special occasions
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La Marseillaise
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La Marseillaise is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled Chant de guerre pour lArmée du Rhin. The Marseillaise was a song, an anthem to freedom, a patriotic call to mobilize all the citizens. The French National Convention adopted it as the Republics anthem in 1795 and it acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. The song is the first example of the European march anthemic style, the anthems evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music. As the French Revolution continued, the monarchies of Europe became concerned that revolutionary fervor would spread to their countries, the War of the First Coalition was an effort to stop the revolution, or at least contain it to France. Initially, the French army did not distinguish itself, and Coalition armies invaded France and that evening, Rouget de Lisle wrote Chant de guerre pour lArmée du Rhin, and dedicated the song to Marshal Nicolas Luckner, a Bavarian in French service from Cham. A plaque on the building on Place Broglie where De Dietrichs house once stood commemorates the event. The melody soon became the call to the French Revolution and was adopted as La Marseillaise after the melody was first sung on the streets by volunteers from Marseille by the end of May. A newly graduated medical doctor, Mireur later became a general under Napoléon Bonaparte, the songs lyric reflects the invasion of France by foreign armies that were under way when it was written. Strasbourg itself was attacked just a few days later, the invading forces were repulsed from France following their defeat in the Battle of Valmy. As the vast majority of Alsatians did not speak French, a German version was published in October 1792 in Colmar, the Convention accepted it as the French national anthem in a decree passed on 14 July 1795, making it Frances first anthem. It later lost this status under Napoleon I, and the song was banned outright by Louis XVIII and Charles X, only being re-instated briefly after the July Revolution of 1830. During Napoleon Is reign, Veillons au Salut de lEmpire was the anthem of the regime. Eight years later, in 1879, it was restored as Frances national anthem, several musical antecedents have been cited for the melody, Mozarts Allegro maestoso of Piano Concerto No. Only the first verse and the first chorus are sung today in France, there are some slight historical variations in the lyrics of the song, the following is the version listed at the official website of the French Presidency. Verses sung in the version of the anthem are in bold. The United States Library of Congress holds the following English translation and these verses were omitted from the national anthem
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Music of Brittany
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Since the early 1970s, Brittany has experienced a tremendous revival of its folk music. Along with flourishing traditional forms such as the pair and fest-noz ensembles incorporating other additional instruments. Traditional Breton folk music includes a variety of vocal and instrumental styles, purely traditional musicians became the heroes of the roots revival in the second half of the 20th century, notably the Goadec sisters. Kan ha diskan is probably the most common type of Breton vocal music and it has become perhaps the most integral part of the Breton roots revival, and was the first genre of Breton music to gain some mainstream success, both in Brittany and abroad. The lead singer is the kaner, and the singer is the diskaner. The kaner sings a phrase, and the diskaner sings the last few lines with the kaner, then repeats it alone until the same last few lines, the phrases repetition is changed slightly in each execution. Kan ha diskan can be songs about any subject, but must meet one of a number of a used in folk dances. Vocables, or nonsense syllables, are used to drag out lines. Usually a kan ha diskan lasts from 5 to 20 minutes and they also venerated performers like Ar breudeur Morvan and Les soeurs Goadec/Ar choarezed Goadeg. During the folk revival, aspiring musicians sought out teachers from whom to learn kan ha diskan. Teachers of this era included Marcel Guilloux and Yann-Fanch Kemener and it was, however, Ropars who adapted the fest-noz, a night party in rural communities, for a new type of fest-noz, and set the stage for the folk revival. Kantik is a type of hymn that is vocal but includes accompaniment from a variety of instruments, commonly including the harp, pipes, modern performers include Anne Auffret and the choir Ensemble Choral du Bout du Monde. Gwerzioù and sonioù are the two classifications of Breton unaccompanied folk song. Vocals for both types are usually by a soloist, a gwerz is a lament characterized by a gloomy tone and subject matter. A Gwerz typically describes tragic events such as murders, deaths, wars, performers in this field include Jean Le Meut from Vannes, whose songs are mostly of the sonioù variety, and are typically pastoral songs concerning love and marriage. More contemporary singers include Ifig Troadeg, who focuses on lyrically shocking gwerzioù, Patrick Marie, Marthe Vassalo, Klervi Rivière, Mathieu Hamon, Annie Ebrel, Erik Marchand and Denez Prigent. The chants de marins, are shanties, ballads about shipwrecks, sailing and loss of life, often accompanied by such as the fiddle. Although it is not exclusively Breton, the number of sailors in this region have given this form of musical expression a high profile
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Music of Corsica
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Outside France the island of Corsica is perhaps best known musically for its polyphonic choral tradition. The rebirth of this genre was linked with the rise of Corsican nationalism in the 1970s, the anthem of Corsica is Dio vi Salvi Regina. Every June, Calvi is home to an International Jazz Festival, there are two dances of ancient origin found in Corsica, the caracolu, a womens funeral dance, and the moresca, illustrating the struggle between Moors and Christians. These days, theyre not danced anymore, the granitula, a spiral procession, is still performed by the confraternities on Good Friday. Polyphonic songs in Corsica are a cappella, and can be either spiritual or secular, hymns, motets, and funereal songs are an example of the former, while the nanna and the paghjella are examples of the latter. Traditionally,4 to 6-voice improvised polyphony was only by men, with the exception of the voceru and cuntrastu. Brotherhoods of polyphonic singers remain, some dating back to the 12th century, corsicas current tradition of improvised vocal polyphony is more recent, dating to 15th century. It is traced to renaissance practice of falsobordone and the Genoese tradition of Trallalero, the tradition of Corsican polyphonic singing had nearly become extinct until its revival in the 1970s. It is now a part of Corsican national identity, and is sometimes linked with political agitation for autonomy or independence. The region of Balagne has emerged as a hot spot for Corsican music, some more recent successful groups are The cetera, a cittern of 4 to 8 double strings that is of Tuscan origin and dates back to the Renaissance, is the most iconic Corsican traditional instrument. Its most prominent exponent is Roland Ferrandi, lInvitu, informative site about all aspects of Corsican music. Félix Quilici, lhomme à lécoute, interesting documentary about the man who first started collecting traditional Corsican music - in French, cantu Nustrale, Ghjermana de Zerbi - Albiana,2009
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Music of Tahiti
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Prior to the arrival of Europeans, the music of Tahiti was dominated by festivals called heiva. Dancing was a part of Tahitian life then, and dances were used to celebrate, pray. Examples include the mens ʻōteʻa dance and the couples upaʻupa, professional dance troupes called ʻarioi were common, and they moved around the various islands and communities dancing highly sensually and erotically. In the early 19th century, however, colonial laws severely restricted these and other dances, herman Melville celebrated one such dance for its sensuality. They were replaced instead by genres of Christian music such as himene tarava. The word himene is derived from the English word hymn. One unique quality of Polynesian music is the use of the sustained 6th chord in vocal music, traditional instruments include a conch-shell called the pu and a nose flute called the vivo, as well as numerous kinds of drums made from hollowed-out tree trunks and dog or shark skin. Kaeppler, Adrienne L. Polynesia, §II,3, Eastern Polynesia, a Brief List of Materials Dealing with the Music of Tahiti
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Music of Guadeloupe
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Zouks popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouks origins are in the music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa. Carnival is an important festival in Guadeloupe and Martinique. Carnival in both islands declined following World War II, bouncing back with new formats and new traditions only in the 1980s. Both islands feature participatory, call-and-response style songs during their Carnival celebrations, biguine vidé is an up tempo version of the biguine rhythm, combining other carnival elements. It is participatory music, with the singing a verse. It allows one to grab an improvised percussion instrument and join in, traditionally, Carnival includes dances of African origin, including laghia, haut-taille, grage, calinda and bel-air. Traditional instruments include the chacha, tibwa, maké, boula, tanbou chan, aside from the biguine vidé bands, Vaval includes song and costume contests, masquerading and zouk parties. Gwo ka is a family of drums used to create a form of folk music from Guadeloupe. There are seven rhythms in gwo ka, and multiple variations on each. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, rural Guadeloupans still use gwo ka drums in communal experiences called lewozes, this is the most traditional manifestation of gwo ka in modern Guadeloupe. Gwo ka is also played at Carnival and other celebrations, a modernized and popularized form of gwo ka is well-known on the islands, it is known as gwo ka moderne. Guadeloupean balakadri persisted into the 20th century and, despite disruption after World War II, the Guadeloupean-administered island of Marie-Galante has also had a vital and well-documented balakadri tradition. As in Martinique, kwadril dances are in sets consisting of proper quadrilles, plus creolized versions of 19th-century couple dances, biguines, mazouks and valses Créoles. The world-famous zouk band Kassav remains easily the most famous performers from the island and these Haitians drew upon previous success from mini-jazz artists like Les Gentlemen, Les Leopards, and Les Vikings de Guadeloupe. Later in the decade and into the 1980s, the French Antilles became home to a style of music called cadence-lypso. Drawing on these influences, the supergroup Kassav invented zouk and popularized it with hit songs like Zouk-La-Se Sel Medikaman Nou Ni, Kassav formed from Paris in 1978. However, all these small jazz or bands had their guitars with sophisticated styles, the 1970s were dominated by mini-jazz, which still used a variant of the méringue style
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Music of Martinique
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Main article, Music of Martinique and Guadeloupe The music of Martinique has a heritage which is intertwined with that of its sister island, Guadeloupe. Despite their small size, the islands have created a popular music industry. Zouks popularity was particularly intense in France, where the genre became an important symbol of identity for Martinique, Zouks origins are in the folk music of Martinique and Guadeloupe, especially Martinican chouval bwa, and Guadeloupan gwo ka. Theres also notable influence of the pan-Caribbean calypso tradition and Haitian kompa, carnival is a very important festival, known as Vaval on Martinique. Music plays a role, with Martinican big bands marching across the island. Vaval declined following World War II, bouncing back with new band formats, like Guadeloupe, Martinique features participatory, call-and-response style songs during its Vaval celebrations. In the early 20th century on Martinique, Creole bands travelled on trucks or small carts during Vaval and these large bands, known as groups à pied, are each identified with a neighborhood. Biguine vidé is an up tempo version of the biguine rhythm and it participatory music, with the bandleader singing a verse and the audience responding. Modern instrumentation includes a variety of improvised drums made from containers of all kinds, plastic plumbing, bells, tanbou débonda, bélé chacha, tibwa, aside from the biguine vidé bands, Vaval includes song and costume contests, masquerading and zouk parties. The bel air is a legacy of the music tradition. The bélé itself is a huge tambour drum that players ride as though it was a horse and it is characterized, in its rhythm, by the tibwa played on a length of bamboo mounted on a stand to the tambour bélé, and is often accompanied by a chacha. The tibwa rhythm plays a pattern and the drum comes to mark the highlights. It is organized in a way, the first entry of the singer. Then the Bwatè sets the pace, followed by bélé drum, finally, the dancers take the stage. A dialogue is created between the dancers and the tanbouyè, the answer play opposite the singer, the audience can also participate. As a family, together singers, dancers, musicians and audiences are lured by its mesmerizing rhythms, edmond Mondesir is a popular bélé musician from Martinique. Chouval bwa is a kind of Martinican traditional music, featuring percussion, bamboo flute, accordion, the music originated among rural Martinicans, as a form of celebratory holiday music played to accompany a dance called the manege. In French Caribbean culture, especially of the Lesser Antilles, the kwadril is a Creole term referring to a folk dance derived from the quadrille
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Hip hop music
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It developed as part of hip hop culture, a subculture defined by four key stylistic elements, MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing. Other elements include sampling beats or bass lines from records, while often used to refer solely to rapping, hip hop more properly denotes the practice of the entire subculture. Hip hops early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. The Sugarhill Gangs 1979 song Rappers Delight is widely regarded to be the first hip hop record to gain popularity in the mainstream. The 1980s marked the diversification of hip hop as the genre developed more complex styles, prior to the 1980s, hip hop music was largely confined within the United States. However, during the 1980s, it began to spread to scenes in dozens of countries. New school hip hop was the wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. The Golden age hip hop period was a period between the mid-1980s and the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, and A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that often focuses on the violent lifestyles, in the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s. I. G. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap, at the same time, hip hop continued to be assimilated into other genres of popular music, examples being Neo soul and nu metal. Hip hop became a pop music genre in the mid-1990s. The popularity of hip hop music continued through the 2000s, with hip hop influences also increasingly finding their way into mainstream pop, the United States also saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics. Starting in 2005, sales of hip hop music in the United States began to severely wane, during the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. Creation of the hip hop is often credited to Keith Cowboy, rapper with Grandmaster Flash. However, Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was known as disco rap. Cowboy later worked the hip hop cadence into a part of his stage performance, the first use of the term in print was in The Village Voice, by Steven Hager, later author of a 1984 history of hip hop
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Francophonie
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Francophonie, sometimes also spelt Francophonia in English, is the quality of speaking French. It is not to be confused with the Organisation Internationale de la Francophonie, the term designates the ensemble of people, organisations and governments that share the use of French on a daily basis or/and as administrative language, teaching language or chosen language. Francophonie, francophonie and francophone space are syntagmatic expressions that are sometimes misunderstood or misused and they can be synonymous but most of the time they are complementary. • francophonie, with an f, refers to populations. Organisation Internationale de la Francophonie Agence Universitaire de la Francophonie French language
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Afrika Bambaataa
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Afrika Bambaataa is an American disc jockey from the South Bronx, New York. He is notable for releasing a series of genre-defining electro tracks in the 1980s that influenced the development of hip hop culture. Afrika Bambaataa is one of the originators of breakbeat DJing and is known as The Godfather and Amen Ra of Hip Hop Kulture. Through his co-opting of the gang the Black Spades into the music and culture-oriented Universal Zulu Nation. He was born to Jamaican and Barbadian immigrants, Bambaataa grew up in The Bronx River Projects, with an activist mother, as a child, he was exposed to the black liberation movement, and witnessed debates between his mother and uncle regarding the conflicting ideologies in the movement. He was exposed to his mothers extensive and eclectic record collection, gangs in the area became the law, clearing their turf of drug dealers, assisting with community health programs and both fighting and partying to keep members and turf. Bambaataa was a member of the Black Spades and he quickly rose to the position of warlord of one of the divisions. As warlord, it was his job to build ranks and expand the turf of the young Spades and he was not afraid to cross turfs to forge relationships with other gang members, and with other gangs. As a result, the Spades became the biggest gang in the city in terms of membership and turf. After Bambaataa won an essay contest that earned him a trip to Africa and he had seen the movie Zulu and was impressed with the solidarity exhibited by the Zulu in that film. During his trip to Africa, the communities he visited inspired him to one in his own neighborhood. He changed his name to Afrika Bambaataa Aasim, adopting the name of the Zulu chief Bhambatha and he told people that his name was Zulu for affectionate leader. Bambaataa formed The Bronx River Organization as an alternative to the Black Spades, inspired by DJ Kool Herc and Kool DJ Dee, Bambaataa began hosting hip-hop parties beginning in 1976. He vowed to use hip-hop to draw angry kids out of gangs, Cowboy of Grandmaster Flash and the Furious Five, is credited with naming hip-hop, the term became a common phrase used by MCs as part of a scat-inspired style of rhyming. In 1982, Bambaataa and his followers, a group of dancers, artists and he saw that the hip hop tours would be the key to help expand hip hop and his Universal Zulu Nation. In addition it would promote the values of hip hop that he believed are based on peace, unity, love. He brought peace to the gangs, many artists and gang members say that hip hop saved a lot of lives and his influence inspired many overseas artists like the French rapper MC Solaar. He was a popular DJ in The South Bronx rap scene and became not only as Afrika Bambaataa
