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Music Genre's pt2

2009-06-26 19:00:21 by est1913

An Ashik (Turkish: a%u015F%u0131k, Azerbaijani: a%u015F%u0131q, %u0639%u0627%u0634%u06CC%u0642, Armenian: %u0531%u0577%u0578%u0582%u0572, ashugh, Georgian: %u10D0%u10E8%u10E3%u10E6%u10D8, ashughi) is a mystic troubadour or traveling bard, in Turkey, Azerbaijan, Armenia, Georgia, and Iran who sings and plays the saz, a form of lute. Ashiks' songs are semi-improvised around common bases.

The Ashik tradition in Turkic cultures of Anatolia, Azerbaijan and Central Asia has its origin in the Shamanistic beliefs of ancient Turkic peoples.

The ancient ashiks were called by various names such as bakhshi (Bax%u015F%u0131), dede (d%u0259d%u0259), and uzan or ozan. Among their various roles, they played a major part in perpetuation of oral tradition, promotion of communal value system and traditional culture of their people.

These wandering bards or troubadours are part of current rural and folk culture of Azerbaijan, and Iranian Azerbaijan , they also can be found in Turkey, the Turkmen Sahra (Iran) and Turkmenistan, where they are called bakshy.

Australian country music
Australian country music is a vibrant part of the music of Australia. There is a broad range of styles, from bluegrass, to yodelling to folk to the more popular.

Australia has a long tradition of country music, which has developed a style quite distinct from its U.S. counterpart. Waltzing Matilda, often regarded as Australia's unofficial National anthem, is a quintessential Australian country song, influenced more by Celtic folk ballads than by American Country and Western music. This strain of Australian country music, with lyrics focusing on strictly Australian subjects, is generally known as "bush music" or "bush band music".

Another, more Americanised form of Australian country music was pioneered in the 1930s by such recording artists as Tex Morton. Strictly Australian country music and bush ballads were popularized by Slim Dusty, best remembered for his 1957 song "A Pub With No Beer". In recent years local contemporary country music, featuring much crossover with popular music, has enjoyed considerable popularity in Australia.

Country music has also been a particularly popular form of musical expression among the Australian Aboriginal and Torres Strait Islander peoples
Pub rock (Australia)
Pub rock is a style of Australian rock and roll popular throughout the 1970s and 1980s, and still influencing contemporary Australian music today.

The term came from the venues where most of these bands originally played - inner-city and suburban pubs (short for public house, which is rarely used in Australia in its full form). These often noisy, hot, and crowded establishments are largely frequented by men and women in their late teenage years and 20s. "Pubs" originally come from England and the concept spread due to British settlers in colonies such as Australia, New Zealand and Canada.

Australian hip hop
Australian hip hop music began in the early 1980s; originally it was primarily influenced by hip hop music and culture imported via radio and television from the United States of America. However, since the 1990s, a distinctive local style has developed. Australian hip hop is a part of the underground music scene with only a few successful commercial hits in the last decade. Albums and singles are released by mostly independent record labels, often owned and run by the artists themselves.

Australian humour music
Australian humour music (often quite similar in style to Australian country music) is based on irreverent, rude, but harmless humour. Its lyrics often include a lot of swearing and are rarely about controversial or meaningful issues.

Australian (perhaps inherited from the British) humour uses deadpan, in which an outrageous or ridiculous statement without explicit signs of joking, such as tales of kangaroos hopping across the Sydney Harbour Bridge and drop bears exemplify the propensity for this style of leg-pulling.

Although you can buy the CDs at most music shops, this genre is generally not very commercial and spread mostly by word of mouth and small country town concerts. However it is very popular especially in rural areas of Australia.

Avant-garde jazz
Avant-garde jazz (also known as avant-jazz) is a style of music and improvisation that combines avant-garde art music and composition with jazz. Avant-jazz often sounds very similar to free jazz, but differs in that, despite its distinct departure from traditional harmony, it has a predetermined structure over which improvisation may take place. This structure may be composed note for note in advance, partially or even completely.

Avant-garde metal
Avant-garde metal, experimental metal, or art metal is a subgenre of heavy metal music characterised by the use of innovative, avant-garde elements, large-scale experimentation, and the use of non-standard sounds, instruments, and song structures. The earliest avant-garde metal bands include Celtic Frost and Master's Hammer.

Avant-garde music
Avant-garde music is a term used to characterize music which is thought to be ahead of its time, i.e. containing innovative elements or fusing different genres.

Historically speaking, musicologists primarily use the term "avant-garde music" for the radical, post-1945 tendencies of a modernist style in several genres of art music after the death of Anton Webern in 1945. In the 1950s the term avant-garde music was mostly associated with serial music.

Today the term may be used to refer to any other post-1945 tendency of modernist music not definable as experimental music, though sometimes including a type of experimental music characterized by the rejection of tonality.

Avant-punk is a corruption of "avant-garde," indicating the forefront of innovation. Sonic Youth may be thought of as the trailblazers of avant-punk, having pioneered the integration of jazz and punk in the 1980s. The no wave movement anticipated their innovations. Other bands described by commentators as avant-punk include Fugazi, The Ex, Dog Faced Hermans, and Goes Cube. Others may consider even earlier bands Avant Punk, such as San Francisco's experimental noise punk band, Flipper.

Axé music
Axé music is a popular music genre originating in Salvador, Bahia, Brazil approximately in 1986, fusing different Afro-Caribbean genres, such as Marcha, Reggae, and Calypso. It also includes influences of Afro-Brasilian music such as Frevo, Forró and Carixada. The most important creator of this music style was Alfredo Moura, conducting Carlinhos Brown, Luiz Caldas, Sarajane and others. The word "axé" comes from a religious greeting used in the Candomblé and Umbanda religions that means "good vibration".

Bachata (music)
Bachata is a genre of music that originated in the countryside and the rural neighborhoods of the Dominican Republic. Its subjects are often romantical; especially prevalent are tales of heartbreak and sadness. In fact, the original term used to name the genre was amargue ("bitterness," or "bitter music"), until the rather ambiguous (and mood-neutral) term bachata became popular. The form of dance, Bachata, also developed with the music.

Baggy was a British dance-oriented music genre popular in the early 1990s.

The scene was extremely influenced by Madchester, although the scene was not geographically confined to Manchester. Many Madchester bands could also be described as Baggy, and vice versa. Baggy was characterised by psychedelia- and acid house-influenced guitar music, often with a funky drummer beat, similar to the work of the Happy Mondays and the Stone Roses. The scene was named after the loose-fitting clothing worn by the bands and fans.

Some bands, such as the The Mock Turtles and The Soup Dragons, reinvented their sound and image to fit in with the new scene. This led some critics to accuse baggy bands of bandwagon-jumping and derivative songwriting. There was also a crossover between dance and indie, and vice versa.

Bands in the indie-dance era of pop music can be divided into two camps; the acts who could be described as baggy (usually the 'Madchester' acts and a few others such as Flowered Up from London) - and those who can be described as indie-dance (i.e. Jesus Jones, who were more techno inspired).

Baião (music)
The baião is a Northeast Brazilian rhythmic formula that became the basis of a wide range of music. Forró, côco, and embolada are clear examples. The main baião instrument is the zabumba, a flat, double-headed bass drum played with a mallet in one hand and stick in the other, each striking the opposite head of the drum.

The baião originated with the native peoples in the Northeast but now incorporates elements of indigenous, mestizo, African, and European musics. Grossly, the indigenous elements are flutes and wooden shakers; African-influenced baiãos are accompanied with atabaque drums and include overlapping call and response singing; and European influences include dance music such as the polka, mazurka, schottische, and quadrille, as well as Portuguese contest singing and accompaniment with one or two pandeiros playing the baião rhythm.

The baião is most associated with the State of Pernambuco, just north of Bahia. Despite the relatively small area that confines its popularity, a great variety of music is associated with baião. One only need listen to Gilberto Gil from Bahia, Luiz Gonzaga and Selma do Côco of Pernambuco, and any "repentista" singer from the region such as Perdal Lins and Verde Lins. Although samba and bossa nova are largely considered Brazil's national musics, no complete understanding of Brazil's music and culture can be had without taking into account the baião and its influences as far south as São Paulo and Rio de Janeiro.

The baião is very much a rural music and for a long time was eschewed by the urban upper classes.

Bakersfield sound
The Bakersfield sound was a genre of country music developed in the mid- to late 1950s in and around Bakersfield, California. Bakersfield country was a reaction against the slickly-produced, string orchestra-laden Nashville Sound, which was becoming popular in the late 1950s. Buck Owens and the Buckaroos and Merle Haggard and the Strangers are the most successful artists of the original Bakersfield sound era.

The bakshy are traditional Turkmen musicians. Historically they have been traveling singers and shamans, acting as healers and spiritual figures, and also providing the music for celebrations of weddings, births and other important life events. They sing either a cappella or to the accompaniment of traditional instruments (primarily the two-stringed lute called the dutar.) The Turkmen bakshy tradition is closely related to the larger Turkic Ashik tradition.

Baila is the term used to describe a form of dance music popular on the island of Sri Lanka. The genre originated centuries ago among the 'kaffir'or Afro-Sinhalese communities (mixed communities consisting of Portuguese, African and native Sinhalese people), and was later amalgamated with European instruments and eastern and western rhythms, especially rhythms found in Spain and northern European folk music.

Baila music, though popular as a folk art for centuries in the country, was introduced to Sri Lanka's mainstream during the early years of the 1960s when singer Wally Bastian (who was also a police officer), began adapting the 6/8 'kaffirhina' rhythms to accommodate Sinhala lyrics. By the 1970s, owing largely to the contributions of musicians MS Fernando and Maxwell Mendis; baila had grown to become a recognized (and respected) style of Sri Lankan popular music.

Funk carioca
Funk Carioca (English: Rio Funk ), favela funk and, elsewhere in the world, baile funk, is a type of dance music from Rio de Janeiro, derived from Miami bass. In Rio de Janeiro it is most often simply known as funk, although it is very different musically from what funk means in most other places. "Baile funk", in Rio, refers not to the music, but to the actual parties in which the music is played.

Baisha xiyue
Baisha xiyue (Chinese: %u767D%u6C99%u7EC6%u4E50, literally "Baisha fine music") is one of the two surviving forms of traditional music of the Naxi (also spelled Nakhi or Nahi) people of Lijiang, Yunnan Province, China, known as "Naxi ancient music". Baisha is a town located ten kilometres north of Lijiang, and was the capital of the independent Naxi kingdom before it was annexed by the Yuan Empire in 1271.

Baisha xiyue is a classical orchestral musical form, with 24 qupai (tunes), played on antique Chinese musical instruments, such as flute, shawm, Chinese lute, and zither. It is derived from the ritual music of Taoist and Confucian ceremonies from the 14th century. Since Lijiang is relatively remote, the music form has survived relatively unchanged since that period. The music is characterised by the "three olds" - old melodies, old instruments and old musicians.

The other surviving form of Naxi ancient music is the Han derived dongjing yinyue ("cave scripture music"), which has its roots in Taoist and Buddhist ritual music. A third form of Naxi ancient music, huangjing yinyue, has not survived. Traditional Naxi music has been described as the living fossil of Chinese music. The city of Lijiang is itself a World Heritage Site.

Bajourou (meaning 'big strings' or 'big tune') is the name given to a strain of Malian (Mali) pop music usually played at weddings and social gatherings. Though now predominantly electric, its roots were in 60's acoustic music that borrowed patterns from the kora and the donsongoni (a hunting harp/guitar) and transferred them to acoustic guitars. Lyrics moved away from the usual Manding praise songs to more secular, romantic concerns, mainly sung by women like Fanta Sacko who did much to develop and spread the music.

Baku (Azerbaijani: Bak%u0131), sometimes known as Baqy, Baky, Baki or Bakü, is the capital, the largest city, and the largest port of Azerbaijan and all Caucasus. Located on the southern shore of the Absheron Peninsula, the city consists of two principal parts: the downtown and the old Inner City (21,5 ha). Baku is one of the oldest and biggest cities in East for antiquity, territory and population. As of 1 January 2005 the population was 2,036,000, of which 153,400 were internally displaced persons and 93,400 refugees.

Baku is a member of Organization of World Heritage Cities and Sister Cities International. The city was also bidding for the 2016 Summer Olympics, but was eliminated on 4 June 2008. In 2007 Culture Ministers of the member-states of the Organisation of the Islamic Conference declared Baku to be the capital of Islamic Culture for 2009.

Baku is divided into eleven administrative raions (Azizbayov, Binagadi, Garadagh, Narimanov, Nasimi, Nizami, Sabail, Sabunchu, Khatai, Surakhany and Yasamal) and 48 townships. Among these are the townships on islands in the Baku Bay and the town of Oil Rocks built on stilts in the Caspian Sea, 60 km (37 mi) away from Baku.

Bal-musette is a style of French music and dance that first became popular in Paris in the 1880s.

Auvergnats settled in large numbers in the 5th, 11th, and 12th districts (arondissements) of Paris during the 19th century, opening cafés and bars where patrons danced the bourrée to the accompaniment of musette de cour (a bellows-powered bagpipe) and grelottière (sleigh bells attached to a narrow, hand-held loop of leather).

Parisian and Italian musicians who played the accordion adopted the style and established themselves in Auvergnat bars especially in the 19th district.

When Italians began introducing new rhythms like the waltz and polka into the traditional musical form and began playing it on recently introduced hybrid accordion, conflicts arose, and the Italian and Auvergnat styles split. By the end of 19th century, there were three kinds of bals-musette establishments:

* bal des familles - Auvergnat
* bal musette populaire - Italian
* guinche ou bal de barrière - seedy hangouts frequented by low-lifes

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, as well as forms that did not require a large halls. "Musette-forms" that established themselves as variations to popular dances of the day include:

* tango-musette
* pasodoble-musette
* waltz-musette, with a special variation called la toupie ("the top"), where dancers are very close and turn around themselves very regularly.

An original musette dance also appeared, known as java.

Admission to most bals were free, but dancers bought dance tokens at the cash-desk. 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 ball director walked between the couples with a bag and the dancers gave 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 in about 1960, however, a revival of balls has begun, especially in larger cities, and a modern form of the musette is establishing itself.

Balakadri (called balkadri or kadri) is a traditional quadrille music that was performed for balls on the Caribbean island of Guadeloupe.

A ballad is a form of verse, often a narrative and set to music. Ballads were characteristic of particularly British and Irish popular poetry and song from the later medieval period until the 19th century and used extensively across Europe and later North America, Australia and North Africa. Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 20th century it took on the meaning of a slow form of popular love song.

The ballata (plural: ballate) is an Italian poetic and musical form, which was in use from the late 13th to the 15th century. It has the musical structure AbbaA, with the first and last stanzas having the same texts. It is thus most similar to the French musical 'forme fixe' virelai (and not the ballade as the name might otherwise suggest). The first and last "A" is called a ripresa, the "b" lines are piedi (feet), while the fourth line is called a "volta". Longer ballate may be found in the form AbbaAbbaA, etc. Unlike the virelai, the two "b" lines usually have exactly the same music and only in later ballate pick up the (formerly distinctly French) first and second (open and close) endings. The term comes from the verb ballare, to dance, and the form certainly began as dance music.

The ballata was one of the most prominent secular musical forms during the trecento, the period often known as the Italian ars nova. Ballate are sung at the end of each day of Boccaccio's Decameron (only one musical setting of these poems, by Lorenzo da Firenze, survives). Early ballate, such as those found in the Rossi Codex are monophonic. Later, ballate are found for two or three voices. The most notable composer of ballate is Francesco Landini, who composed in the second half of the 14th century. Other composers of ballata include Andrea da Firenze, a contemporary of Landini, as well as Bartolino da Padova, Johannes Ciconia, and Zacara da Teramo. In the 15th century both Arnold de Lantins and Guillaume Dufay wrote ballate; they were among the last to do so.

Ballet (music)
Ballet as a musical form is a musical composition intended for ballet performance. The same music can be used for several different ballet choreographies.

Bamboo (band)
Bamboo is a Filipino alternative rock band founded in 2003 by the former vocalist of Rivermaya, Bamboo Mañalac.

Bambuco is sometimes said to be the unofficial music of Colombia. It has a beat structure similar to the European waltz or polska (not polka). Typically a bambuco piece is a folk music song accompanied by a stylized group dance in either a 6/8 or 3/4 meter.

The music, sometimes called el bambuco, is thought to be of African origin, but took a cultural foothold in the Andean region of Colombia and has spread in popularity throughout Latin America.

Banda music
Banda is a brass-based form of traditional Mexican music. Bandas play a wide variety of songs, including rancheras, corridos, cumbias, baladas, and boleros. Bandas are most widely known for their rancheras, but they also play modern Mexican pop, rock, and cumbias.

La Banda el Recodo, Banda Sinaloense MS, Banda Machos, Banda Maguey, Banda Cuisillos, La Arrolladora Banda El Limón, El Chapo de Sinaloa, Banda Jerez, El Coyote, Sergio Vega and Julio Preciado are some of the most famous banda artists. Banda is primarily a male-dominated genre; however, there are also a few all-female bandas such as Banda Las Tapatías and Banda Soñadoras, as well as a few prominent female singers such as Yolanda Pérez, and Graciela Beltrán.

Bangsawan is a type of traditional Malay opera. It was known to have developed from a sort of Indian theatre performance during the 19th century by visiting Indian travellers.

Bangsawan is similar in western opera where certain characters are played during performance, the stories drawn from diverse sources, such as Indian, Western, Islamic, Chinese, Indonesian and Malay. Music, dance and costumes are used depending on the story told.

Nowadays, it is difficult, if not impossible to find any bangsawan troupes in Malaysia.

Bantowbol or bantubol is a style of music from Cameroon. The genre is derived from Cameroonian folk music. The name bantowbol is partially derived from bal, a term for accordion playing. The principal musicians of bantowbol are Gibraltar Drakus and Nkondo Si Tony.

Barbershop music
Barbershop vocal harmony, as codified during the barbershop revival era (1940s - present), is a style of a cappella, or unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or bass, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. Occasional traveling may be sung by fewer than four voice parts.

According to the Barbershop Harmony Society:

Barbershop music features songs with understandable lyrics and easily singable melodies, whose tones clearly define a tonal center and imply major and minor chords and barbershop (dominant and secondary dominant) seventh chords that resolve primarily around the circle of fifths, while making frequent use of other resolutions. Barbershop music also features a balanced and symmetrical form, and a standard meter. The basic song and its harmonization are embellished by the arranger to provide appropriate support of the song's theme and to close the song effectively.

Barbershop singers adjust pitches to achieve perfectly tuned chords in just intonation while remaining true to the established tonal center. Artistic singing in the barbershop style exhibits a fullness or expansion of sound, precise intonation, a high degree of vocal skill, and a high level of unity and consistency within the ensemble. Ideally, these elements are natural, unmanufactured, and free from apparent effort.

The presentation of barbershop music uses appropriate musical and visual methods to convey the theme of the song and provide the audience with an emotionally satisfying and entertaining experience. The musical and visual delivery is from the heart, believable, and sensitive to the song and its arrangement throughout. The most stylistic presentation artistically melds together the musical and visual aspects to create and sustain the illusions suggested by the music.

Slower barbershop songs, especially ballads, often eschew a continuous beat, and notes are often held (or speeded up) ad libitum.

The voice parts in men's barbershop singing do not correspond closely to the correspondingly named voice parts in classical music. Barbershop singing is performed both by men's and women's groups; the elements of the barbershop style and the names of the voice parts are the same for both.

Barn dance
A barn dance is any kind of dance held in a barn, but usually involves traditional or folk music with traditional dancing. Folk dancing events are often also referred to as "barn dances", despite being held in locations other than barns. People also say that there was a song called dancing in the barn and that's where the term comes from.

The term "barn dance" is usually associated with family-oriented, community-oriented events, but can refer to a rave, a kegger, or any other event than might be held in a barn or other rural building.

A barn dance can be a Ceilidh, with traditional Irish or Scottish dancing, and people unfamiliar with either format often confuse the two terms. However, a barn dance can also feature square dancing, Morris dancing, Contra dancing, English Country Dance, dancing to Country and Western music, or any other kind of dancing, often with a live band and a Caller.

The Chicago Barn Dance Company and the similarly-named but unrelated London Barn Dance Company for instance, both offer contra and square dancing events.

Baroque music
Baroque music describes a period or style of European classical music approximately extending from 1600 to 1750. This era is said to begin in music after the Renaissance and was followed by the Classical music era. The word "baroque" came from the Portuguese word barroco, meaning "misshapen pearl", a strikingly fitting characterization of the architecture of this period; later, the name came to be applied also to its music. Baroque music forms a major portion of the classical music canon, being widely studied, performed, and listened to. It is associated with composers such as Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Arcangelo Corelli, Claudio Monteverdi, and Tomaso Albinoni. The baroque period saw the development of functional tonality. During the period, composers and performers used more elaborate musical ornamentation; made changes in musical notation, and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established opera as a musical genre. Many musical terms and concepts from this era are still in use today.

Miami bass
Miami bass (also known as booty music or booty bass, a term that may also include other genres, such as dirty rap), is a type of hip hop music that became popular in the 1980s and 1990s. The use of the Roland TR-808 sustained kick drum, raised dance tempos, and occasional sexually explicit lyrical content differentiate it from other hip hop subgenres. Music author Richie Unterberger has characterized Miami bass as using rhythms with a "stop start flavor" and "hissy" cymbals with lyrics that "reflected the language of the streets, particularly Miami's black ghettos such as Liberty City and Overtown". Miami bass has never found consistent mainstream acceptance, though it has had a profound impact on the development of drum and bass, Baltimore Club, Southern rap, Funk carioca, and other genres.

During the 1980s, the focus of Miami bass tended to be on DJs and record producers, rather than individual performers. Record labels such as Pandisc released much material of the genre. Unterberger has referred to James (Maggotron) McCauley (also known as DXJ, Maggozulu 2, Planet Detroit and Bass Master Khan) as the "father of Miami bass," a distinction McCauley himself denies, choosing rather to confer that status on producer Amos Larkins.[citation needed] "Bass Rock Express" by MC ADE (with music and beats produced by Amos Larkins) is often credited as being the first Miami bass record to gain underground popularity on an international scale.The single "Throw The Dick" by 2 Live Crew (Produced by David "Treach DJ Mr. Mixx" Hobbs) in January 1986 gave a permanent blueprint to how future Miami Bass songs were songwritten and produced.

Luther 'Luke Skyywalker' Campbell along with David "Treach DJ Mr. Mixx" Hobbs of 2 Live Crew played a key role in popularizing Miami bass in the late 1980s and early 1990s. The group's 1986 release, The 2 Live Crew Is What We Are, became controversial for its sexually explicit lyrics. 1989's As Nasty As They Wanna Be, along with its hit single "Me So Horny", proved more controversial still, leading to legal troubles for both 2 Live Crew and retailers selling the album (all charges were eventually overturned on appeal).

The popularity of Miami bass was in part due to its successful promotion in the South Florida area by local DJs, radio stations, and clubs.[citation needed] For the better part of the mid-80s and early 90s, DJs such as Luke Skyywalker's Ghetto Style DJs, Norberto Morales' Triple M DJs, Space Funk DJs, Mohamed Moretta, DJ Nice & Nasty, Felix Sama, Ramon Hernandez, Bass Master DJ's, Lazaro Mendez (DJ Laz), Earl "The Pearl" Little, Uncle Al, DJ Slice, K-Bass, Jam Pony Express and others were heavily involved in playing Miami bass at local outdoor events to large audiences at area beaches, parks, and fairs. Clubs in South Florida, including Pac-Jam, Superstars Rollertheque, Bass Station, Studio 183, Randolphs, Nepenthe, Video Powerhouse, Skylight Express, Beat Club and Club Boca, were hosting bass nights on a regular basis. Radio airplay and programming support was strong in the now defunct Rhythm 98, as well as WEDR, and WPOW (Power 96).

By the mid 1990s the influence of Miami Bass had spread outside South Florida to all areas of Florida and the Southern United States. In the mid 1990s it saw a commercial and mainstream resurgence with Miami Bass influenced artists like 95 South, Tag Team, 69 Boyz, Quad City DJ's, and Freak Nasty all scoring big Miami Bass hits. Examples of these songs are "Whoomp! (There It Is)" by Tag Team in 1993, "Tootsee Roll" by 69 Boyz in 1994, and "C'mon N' Ride It (The Train)" by the Quad City DJ's in 1996. These songs all reached the top 10 in the pop charts and gave Miami Bass a new commercial success. These artists generally used a Miami Bass sound and production but did it in a far less explicit and far more accessible way than had been previously done by Campbell and the 2 Live Crew.

Another sub-genre of Miami bass is car audio bass, which features an even more stripped down and bass heavy sound, tending to focus on either extremely hard 909 kicks combined with sine waves or the classic 808 kick, or sometimes simply the sine wave by itself.

Miami bass is closely related to the electronic dance music genres of Ghettotech and Booty House, genres which combine Detroit techno and Chicago house with the Miami bass sound. Ghettotech follows the same sexually oriented lyrics, hip-hop bass lines and streetwise attitude, but with harder, up-tempo Roland TR-909 techno-style kick beats. In 2007, contemporary hip-hop and R&B songs became more dance oriented, showing influences of Miami bass and techno.

....continued on pt3


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