Disco Music

 

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Disco is a genre of dance music and a subculture that emerged in the 1970s from the United States' urban nightlife scene.

The disco sound is typified by "four-on-the-floor" beats, syncopated basslines, and string sections, horns, electric piano, synthesizers, and electric rhythm guitars. Lead guitar features less frequently in disco than in rock. Well-known disco artists include Donna Summer, Gloria Gaynor, the Bee Gees, Chic, KC and the Sunshine Band, Thelma Houston, Sister Sledge, the Trammps, Village People and Michael Jackson. While performers and singers garnered public attention, record producers working behind the scenes played an important role in developing the genre. Films such as Saturday Night Fever (1977) and Thank God It's Friday (1978) contributed to disco's mainstream popularity.

Disco started as a mixture of music from venues popular with African Americans, Hispanic and Latino Americans, Italian Americans, LGBT people (especially African-American, Latino-American, and Italian-American gay men),and psychedelic hippies in Philadelphia and New York City during the late 1960s and early 1970s. Disco can be seen as a reaction by the counterculture during this period to both the dominance of rock music and the stigmatization of dance music at the time. Several dance styles were developed during the period of disco's popularity in the United States, including “the Bump” and “the Hustle”.

By the late ‘70s, most major U.S. cities had thriving disco club scenes, and DJs would mix dance records at clubs such as Studio 54 in New York City, a venue popular among celebrities. Discothèque-goers often wore expensive, extravagant and sexy fashions. There was also a thriving drug subculture in the disco scene, particularly for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as cocaine and Quaaludes, the latter being so common in disco subculture that they were nicknamed "disco biscuits". Disco clubs were also associated with promiscuity as a reflection of the sexual revolution of this era in popular history.

Disco was the last popular music movement driven by the baby boom generation. It began to decline in the United States during 1979-80, and by 1982 it had lost nearly all popularity there. Disco Demolition Night, an anti-disco protest held in Chicago on July 12, 1979, remains the most well-known of several "backlash" incidents across the country that symbolized disco's declining fortune.

Disco was a key influence in the development of electronic dance music and house music. It has had several revivals, such as Madonna's highly successful 2005 album Confessions on a Dance Floor, and more recently in the 2010s, entering the pop charts in the US and the UK

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In Chicago, the Step By Step disco dance TV show was launched with the sponsorship support of the Coca-Cola company. Produced in the same studio that Don Cornelius used for the nationally syndicated dance/music television show, Soul Train, Step by Step's audience grew and the show became a success. The dynamic dance duo of Robin and Reggie led the show. The pair spent the week teaching disco dancing to dancers in the disco clubs. The instructional show which aired on Saturday mornings had a following of dancers who would stay up all night on Fridays so they could be on the set the next morning, ready to return to the disco on Saturday night knowing with the latest personalized dance steps. The producers of the show, John Reid and Greg Roselli, routinely made appearances at disco functions with Robin and Reggie to scout out new dancing talent and promote upcoming events such as "Disco Night at White Sox Park".

Some notable professional dance troupes of the 1970s included Pan's People and Hot Gossip. For many dancers, a key source of inspiration for 1970s disco dancing was the film Saturday Night Fever (1977). This developed into the music and dance style of such films as Fame (1980), Disco Dancer (1982), Flashdance (1983), and The Last Days of Disco (1998). Interest in disco dancing also helped spawn dance competition TV shows such as Dance Fever (1979).

Boere Volks Music

 Boeremusiek is a type of South African instrumental folk music. Its original intent was to be an accompaniment to social dancing at parties and festivals.
Boeremusiek is originally European, but once it was brought to South Africa, it gradually changed and became its own style.A concertina is similar to an accordion and is the lead instrument in most Boeremusiek bands. There are many different types of concertinas, which is why Boeremusiek has so many unique sounds and styles, and the construction the concertina is what makes the different sounds in the Boeremusiek band; it depends on where the slots and holes are put makes the difference on the sound that the concertina makes.Other instruments that might be in a Boeremusiek band would be piano accordions, button harmonicas, accordions, pianos, harmoniums and the guitar, and sometimes, a cello or bass guitar may be seen.
The sound of a Boeremusiek band may depend on what region the band is from, seeing that Boermusiek’s intent is to be informal, instrumental dance music. Today, there are many successful Boeremusiek bands that have recorded albums. Some famous bands and individual artists today include Klipwerf Boereorkes, Danie Grey, Nico Carstens, Taffie Kikkilus, Brian Nieuwoudt, Samuel Petzer, Worsie Visser and Die Ghitaar Man.

 

What is boermusic?

This is a question that has experts pondering for years and can not be answered without a measure of controversy. In short we, The Traditional Boer Music Club, can define Boermusic as instrumental folk music, dating from the period during which the people who practiced it where internationally know as "Die Boere" (The Boers) of South Africa. It is informal music that is played in a distinctive way and was primarily intended as accompaniment for social dancing. For the purpose of this conversation we exclude other kinds of Afrikaans music from the same period like ballads, serenades and music aimed at passive audiences.  

 

What is the Character of Boermusic?

It is nearly impossible to put the rich variety of feeling elements, nuances and sounds that form the essence of Boermusic into words. It is an "experience" of strong and unique character that can not be described in music science terms. The concertina was, and is still to this day, the top lead instrument in Boermusic. Apart from the different types of concertinas that are found in Boer music, there are different dance rhythms and variations in accompaniment. It is striking how each artist often develops a unique and recognizable style. Just as amazing is how the different types of concertinas as well as the different geographical regions created divergent disciplines within Boermusic.
What are the

 origins of Boermusic?

The origins of Boermusic is like a vine with entangled roots and the development has to be distilled from history and myth. The earliest writings contained no reference to the term "Boermusic" or "Boere orkes" (Boermusic band). It is therefor necessary to search for clues that point to the music in question as light, cheerful, informal and indigenous dance music and not formal or classical music. For that we have to follow references to music-, dance- and song habits during the course of history to determine the inception of Boermusic and how it developed.

Boermusic is largely European in origin and it would be a misconception to think that it was brought to South Africa by the early settlers. Most of it was imported fairly recently but aquired a flavour of its own and remained in vogue here long after it went out of fashion abroad.
How did it get to South Africa?

Whenever a certain dance became popular in Europe or anywhere else, it was not long before it was introduced in the Cape by military bands of the British Empire. Whenever they were off duty, they hired themelves out for parties, weddings and other social events. There where dance masters who taught the new dances to the locals and from there it spread into the hinterland. It acquired a local flavour and character of it's own in the process. A large volume of Boermusic was consequently composed by local musicans, as is still the case today.

There where also music teachers who noted down local tunes. The first person to do this was Charles Etienne Boniface (1787-1853) who arrived in the Cape in February 1807

German Schlager Music

 

Schlager music is a style of popular music that is generally a catchy instrumental accompaniment to vocal pieces of pop music with simple, happy-go-lucky, and often sentimental lyrics. It is prevalent in Central and Northern Europe, and Southeast Europe (in particular Germany, Austria, Albania, Bulgaria, Finland, Slovenia, Serbia, Croatia, Poland, Hungary, Romania, Switzerland, Scandinavia, and the Baltic States), and also (to a lesser extent) in France, Belgium, Netherlands, and the UK. In the United States it is also known as 'entertainer music' or 'German hit mix'. 

 

Typical schlager tracks are either sweet, sentimental ballads with a simple, catchy melody or light pop tunes. Lyrics typically center on love, relationships, and feelings. The northern variant of schlager (notably in Finland) has taken elements from Nordic and Slavic folk songs, with lyrics tending towards melancholic and elegiac themes. Musically, schlager bears similarities to styles such as easy listening.

The German word Schlager (itself a calque of the English word hit) is also a loanword in some other languages (Hungarian, Lithuanian, Russian, Hebrew, Romanian, for example), where it retained its meaning of a "(musical) hit". The style has been frequently represented at the Eurovision Song Contest and has been popular since the contest began in 1956, although it is gradually being replaced by other pop music styles.

Over time, schlager music has gradually shifted on to electronic music rather than generic pop music, due to its widespread use of synthesizers throughout its various implementations in recent decades.

 

Germany and Austria

The roots of German schlager are old: the word refers to songs by Heinz Rühmann and other singing movie stars of the 1930s. One ancestor of schlager may be operetta, which was highly popular in the early twentieth century. In the 1920s and 1930s, the Comedian Harmonists and Rudi Schuricke laid the foundations for this new music.Well-known schlager singers of the 1950s and early 1960s include Lale Andersen, Freddy Quinn, Ivo Robić, Gerhard Wendland, Caterina Valente, Margot Eskens and Conny Froboess. Schlager reached a peak of popularity in Germany and Austria in the 1960s (featuring Peter Alexander and Roy Black) and the early 1970s. From the mid-1990s through the early 2000s, schlager also saw an extensive revival in Germany by, for example, Guildo Horn,Dieter Thomas Kuhn, Michelle and Petra Perle. Dance clubs would play a stretch of schlager titles during the course of an evening, and numerous new bands were formed specialising in 1970s schlager cover versions and newer material. In Hamburg in the 2010s, schlager fans still gathered annually by the hundreds of thousands, dressing in 1970s clothing for street parades called "Schlager Move". The Schlager Move designation is also used for a number of smaller schlager music parties in several major German cities throughout the year.(This revival is sometimes associated with kitsch and camp.)

 

Germans view schlager as their country music, and American country and Tex-Mex music are both major elements in schlager culture. ("Is This the Way to Amarillo" is regularly played in schlager contexts, usually in the English-language original.)

Popular schlager singers include Michael Wendler, Roland Kaiser, Hansi Hinterseer, Jürgen Drews, Andrea Berg, Heintje Simons, Helene Fischer, Nicole, Claudia Jung, Andrea Jürgens, Michelle, Kristina Bach, Marianne Rosenberg, Simone Stelzer, Christian Lais, Semino Rossi, Vicky Leandros, Leonard, DJ Ötzi, and Andreas Gabalier, who was voted best schlager singer in 2012. Stylistically, schlager continues to influence German "party pop": that is, music most often heard in après-ski bars and Majorcan mass discos. Contemporary schlager is often mingled with Volkstümliche Musik. If it is not part of an ironic kitsch revival, a taste for both styles of music is commonly associated with folksy pubs, fun fairs, and bowling league venues.

Between 1975 and 1981 German-style schlager became disco-oriented, in many ways merging with the mainstream disco music of the time. Singers such as Marianne Rosenberg recorded both schlager and disco hits. The song "Moskau" by German band Dschinghis Khan was one of the earliest of modern, dance-based schlager, again showing how schlager of the '70s and early '80s merged with mainstream disco and Euro-disco. Dschinghis Khan, while primarily a disco band, also played disco-influenced schlager.

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