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In the mid-1980s, the Chicago DJ Pierre was fiddling around with a new piece of technology, the Roland TB 303 machine. Tampering with its bass sound produced all sorts of squiggly, complex patterns. Pierre and the DJ/producer Marshall Jefferson gave a 12-minute tape of these doodlings to a local DJ, Ron Hardy, who played it at ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Acid jazz is a lively, groove-oriented music style that combines elements from jazz, funk and hip hop, with an emphasis on jazz dance. The term ‘acid jazz’ was first used during the late 1980s, both as the name of an American record label and the title of a British jazz funk, ‘rare groove’ compilation series. Interest ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Disco had successfully been portrayed in the backlash as un-American, of questionable sexuality, lacking the substance and resonance of rock. In underground clubs, however, house music constituted a mutation of the sound, concentrating its energies on the synthetic noises and elements of repetition that were common in many disco cuts. House music derived its name from ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Drums are the basis of tribal house. While the percussion may be simple and repetitive, its appeal lies in a certain primal, driving energy, stemming from the rhythmical drumming antics of tribespeople in pre-industrialized societies. From Middle Eastern prayer call to Brazilian batucada rhythms, many musical styles are culture-specific. However, the West often lumps together this ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

The term tech-house came from one of the music’s main proponents and champions. Mr C, the former Shamen rapper, coined it to describe the fusion of tough, US garage ‘dubs’ – instrumental versions of vocal tracks – and deep, Detroit techno that London DJs such as Eddie Richards, Colin Dale, Terry Francis and C himself ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

(Guitar, vocals, 1902–88) The son of a musician, Eddie James House Jr. was born in Riverton, Mississippi. House was preaching sermons by his mid-teens and travelled widely in the 1920s. He did not learn guitar until the age of 25, but soon thereafter was torn between his faith and his love of the blues. After killing ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

When the Teatro San Cassiano, the first public opera house, opened in 1637, the Venetian nobility rapidly decamped from the private homes in which performances had previously been given and rented the best box seats for each opera season. The public had to make do with the lower parterre, or ‘pit’. The San Cassiano was built and ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Opera first reached Naples when Venetian companies brought their productions to the city after 1648. At that time, the city was recovering from the spate of murders and massacres that had taken place during the revolt against Spanish rule led by the fisherman Tommaso Aniello Masaniello. Masaniello was killed in 1647 by agents working for the Spanish Viceroy Count d’Onate. ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The writing and performance of Baroque music and opera relied heavily on wealthy patrons, who often employed musicians in their private orchestras and opera houses. Among these patrons were the aristocratic Barberini family, who made their fortune in the Florentine cloth business. Moving to Rome, the Barberini became one of the city’s most powerful family dynasties. Maffeo Barberini ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

During the early eighteenth century a few composers enjoyed regular close collaboration with a favourite librettist, such as Fux with Pariati, or both Vinci and Porpora with the young Metastasio. However, such examples were rare, and instead it was common for a popular libretto created for one major Italian opera centre to be adapted for the needs ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Literary clubs that were established in seventeenth-century Italy were commonly known as ‘academies’, taking their name from the Athenian garden where Plato was thought to have met with his followers. One of the most important such groups in the early eighteenth century was the Roman ‘Arcadian Academy’. It was formally established in 1690 to honour the late Queen Christina of Sweden ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The extended polemic between Lullistes and Ramistes was provoked by the former group’s disgust for the Italianate elements in Rameau’s Hippolyte et Aricie, and their arising concern that the repertoire and tradition established by Lully was under threat. In contrast, Rameau’s supporters championed his innovative music that included more elaborate solo songs and increasingly complex use of the orchestra. ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Opposing tastes in opera have often provoked minor wars. One of them was the guerre des bouffons, which took place in Paris between 1752 and 1754 and ranged the supporters of French serious opera against the advocates of Italian opera buffa. On the French side were King Louis, his influential mistress Madame de Pompadour, his court and the ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

A composer, librettist or other musician who attracted a royal patron acquired personal influence as a result. In Germany, this great good fortune devolved on anyone favoured by King Frederick II (‘The Great’) of Prussia. Frederick was an immensely powerful and able ruler and a rigid disciplinarian and it was inevitable that he approached his great interest, opera ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The Opéra-Comique company was established in 1714 to offer French opera as an alternative to the Italian opera that dominated the continent at the time. After several misadventures, which included a bankruptcy, the Opéra-Comique settled at the Salle Feydeau in 1805. Here, its essentially radical approach to opera soon became clear. At this time, composers such as ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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