107 A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America.John H. Baron.
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These include allowing them to better problem solve issues, providing a means to control or influence other humans, encouraging cooperation and contribution within a society or increasing the chance of attracting a potential mate. The use of imagination developed through art, combined with logic may have given early humans an evolutionary advantage. Evidence of humans engaging in musical activities predates cave art and so far music has been practised by all human cultures. There exists a wide variety of music genres and ethnic musics; with humans musical abilities being related to other abilities, including complex social human behaviours.
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The substance of the work consists of recordings of a variety of traditional ethnic musics from around the world, together with electronically generated sounds . More than twenty of these recorded fragments are intermodulated on tape with electronic sounds and with each other to produce "odd hybrid-types"—modulating, for example, "the chant of monks in a Japanese temple with Shipibo music from the Amazon, and then further impos[ing] a rhythm of Hungarian music on the melody of the monks. In this way, symbiotic things can be generated, which have never before been heard" . Only seven of the work's thirty-two moments—nos.
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In 1952, Jacobs returned to Chicago and began experimenting with reel to reel tape recorders, taking particular advantage of the ease with which they made it possible to manipulate sound directly. Ambient, everyday sound, and especially the structural variety of apparently spontaneous sounds, interested him; at one point he ventured to Haiti to make street recordings. While attending graduate courses at the University of Illinois, he also produced a regular program on the campus radio station (WILL) entitled Music and Folklore, which is believed by some to be one of the first presentations of "world music" to an American audience. Jacobs often brought experts in certain ethnic musics onto the show to provide background information.
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Man Jumping was formed by Andy Blake (saxes, flute), Martin Ditcham (percussion, drums), Orlando Gough (keyboards), John Lunn (bass, keyboards), Glyn Perrin (keyboards, cello), Charlie Seaward (keyboards, flute) and Schaun Tozer (keyboards). Their music drew on world and ethnic musics, electronics and funk to create an alternative world dance music. Orlando Gough said in an interview, in March 1985: "I suppose there is some kind of nebulous central core of ideas, which may be to do with us all having come out of systems music and our interest in foreign music but actually we are influenced by Frank Zappa, James Blood Ulmer, Bach". A demo produced by Mike Hedges led to a contract with Bill Nelson's Cocteau Records, who released their first album Jump Cut in early 1985.
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Post-progressive is a type of rock music: "The term ‘post-progressive’ is designed to distinguish a type of rock music" : post-progressive as a subgenre of progressive rock (see index) : post-progressive as a style of music distinct from the neo-progressive movement : "A number of new bands have cultivated what might be termed a post-progressive style ..." distinguished from vintage progressive rock styles, specifically 1970s prog. Post- progressive draws upon newer developments in popular music and the avant-garde since the mid-1970s. It especially draws from ethnic musics and minimalism, elements which were new to rock music. It is different from neo-progressive rock in that neo-prog pastiches 1970s prog, while "post-progressive" identifies progressive rock music that stems from sources other than prog.
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Brian Eno in the 1970s Post- progressive's beginning may be located after 1978. Author Bill Martin argues that Robert Fripp, Bill Laswell, and Peter Gabriel could all be considered transitional figures in post-progressive rock, crediting Brian Eno as the music's most important catalyst, and explaining that his 1973–77 solo albums merged "warped aspects of progressive rock" with "a strange premonition of punk" and "the first approximations of new wave". Additionally, Talking Heads expanded new wave by combining the urgency of punk rock with the sophistication of progressive rock, as Martin writes: "A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but that means it is post-progressive rock as well." After the 1970s, the post- progressive style followed in the traditions of King Crimson's 1981 album Discipline, with its introduction of minimalism and ethnic musics, elements which were new to rock.
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