ما هو اسلوب الموسيقى الذي اعزف عليه (كرافت)?
موسيقى البوب الالكترونية
In the early 1980s, Chicago radio jocks The Hot Mix 5, and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco records (mostly Philly disco and Salsoul tracks), electro funk tracks by artists such as Afrika Bambaataa, newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. Some made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation. In this era, في اوائل 1980 s, راديو شيكاغو اللاعبين مزيج ساخن 5, و نادي دي جي رون هاردي و فرانكي المفاصل لعبوا اساليب مختلفة من موسيقى الرقص, بما في ذلك سجلات الديسكو القديمة (في الغالب ديسكو فيلي و مسارات salsoul), مسارات الكترو فونك بواسطة الفنانين مثل افريقيا bambaataa, ديسكو ا الايطالية الاحدث, موسيقى بي-بوي الهيب هوب من قبل مان باريش, بين بينيتيز, ارثر بيكر, و جون روبيه, و موسيقى البوب الالكترونية من قبل كرافت و اوركسترا السحر الاصفر. قام البعض بعمل التعديلات الخاصة بهم على اغانيهم المفضلة على شريط من بكرة الى بكرة, وفي بعض الاحيان مختلطة في التاثيرات, الات الطبول, وغيرها من الاجهزة الالكترونية الايقاعي. في هذا العصر, In den frühen 1980 er Jahren spielten Chicago Radio Sportskanonen The Hot Mix 5 und Club-DJs Ron Hardy und Frankie Knuckles verschiedene Stile von Dance Music, darunter ältere Disco-Schallplatten (meist Philly Disco und Salsoul Tracks), Electro Funk Tracks von Künstler wie Afrika Bambaataa, neuere Italo-Disco, B-Boy Hip Hop Musik von Man Parrish, Jellybean Benitez, Arthur Baker und John Robie, und elektronische Pop-Musik von Kraftwerk und Yellow Magic Orchestra. Einige haben ihre eigenen Bearbeitungen ihrer Lieblings-Songs auf Rollen-zu-Klebeband-Band gemacht und gespielt und manchmal in Effekten, Drum-Maschinen und anderen rhythmische elektronischen Instrumenten gemischt. In dieser Ära, A principios de los años 1980, CHICAGO RADIO DEPORTISTAS THE HOT MIX 5, y los djs del club ron hardy y frankie nudillos jugaron varios estilos de música de baile, incluyendo discos disco mayores (en su mayoría disco de Filadelfia y pistas de salsoul), electro funk tracks por artistas como afrika bambaataa, nuevo italo disco, B-boy hip hop music por el hombre parrish, jellybean Benitez, Arthur Baker, y John Robie, y música pop electrónica de kraftwerk y yellow magic orchestra. Algunos hicieron y jugaron sus propios edits de sus canciones favoritas en cinta de carrete a carrete, y a veces se mezclan en efectos, máquinas de batería, y otra instrumentación electrónica rítmica. en esta era, 1980 के दशक के प्रारंभ में, शिकागो रेडियो ने हॉट मिक्स 5 को पत्रिका दी, और क्लब धमाकेदार रॉन हार्डी और फ्रेंकी पोर ने नृत्य संगीत की विभिन्न शैलियों को खेला, जिसमें पुराने डिस्को रिकॉर्ड (ज्यादातर फिली डिस्को और salsoul ट्रैक) शामिल हैं, इलेक्ट्रो फंक ट्रैक द्वारा अफ्रीका bambaataa, नए italo डिस्को, बी-बॉय हिप हॉप संगीत द्वारा मैन parrish, jellybean बेनिटेज़, आर्थर बेकर, और जॉन robie, और इलेक्ट्रॉनिक और येलो मैजिक ऑर्केस्ट्रा द्वारा इलेक्ट्रॉनिक पॉप संगीत जैसे कलाकार । कुछ ने रील-टू-रील टेप पर अपने पसंदीदा गानों के अपने खुद के संपादन किए हैं और कभी-कभी प्रभाव, ड्रम मशीनों और अन्य लयबद्ध इलेक्ट्रॉनिक उपकरणों में मिश्रित होते हैं । इस युग में, Vào đầu những năm 1980, Chicago Radio gã The Hot Mix 5, và câu lạc bộ DJ Ron Hardy và Frankie nữa đã chơi nhiều kiểu nhạc khiêu vũ, bao gồm các hồ sơ disco lớn hơn (chủ yếu là Philly disco và Salsoul track), electro funk track của Các nghệ sĩ như Bolikhanh Doc, mới nhất Italo disco, B-Boy hip hop âm nhạc của Man Parrish, Jellybean Benitez, Arthur Baker, và John Robie, và nhạc pop điện tử của Kraftwerk và Dàn nhạc thuật màu vàng. Một số người được tạo ra và chơi các chỉnh sửa của họ về các bài hát yêu thích của họ trên cuộn băng cuộn, và đôi khi trộn vào các hiệu ứng, máy móc trống, và các thiết bị điện tử khác. Trong thời đại này, 在1980世纪1980年代初, 芝加哥电台播放了热混合5, 具乐部dj罗恩·哈迪和弗兰基·关节演奏各种风格的舞蹈音乐, 包括较老的迪斯科记录(主要是费城迪斯科和salsoul轨道), 艺术家如非洲bambaataa, 新的意大利迪斯科, b-男孩嘻哈音乐由帕里什, 贝尼特斯, 亚瑟·贝克和约翰·罗比, 以及kraftwerk和黄色魔术乐团的电子流行音乐有些人制作并播放了他们自己在卷轴-to-卷轴 磁带上最喜欢的歌曲, 有时混合在效果, 鼓机和其他有节奏的电子仪器. 在这个时代,
虽然2000世纪2000年代的古典音乐已经失去了大部分的音乐即兴传统, 从巴洛克时代到浪漫的时代, 有一些表演者可以在他们时代的风格中即兴表演. 在巴洛克时代, 风琴表演者将即兴演奏序曲, 键盘表演者玩键键琴将会即兴演奏在低音低音部分低音笔记下的贝斯符号的和弦, 声乐和乐器表演者将即兴演奏音乐ornaments. j.s. 赫, 特别注意到他的复杂即兴即兴. 在经典时代, 作曲家-表演者莫扎特被指出他 在 不 同 风格 即兴 演奏 旋律 的 能力. 在经典时代, 一些艺术独奏家将即兴演奏协奏曲的华彩部分. 在浪漫的时代, 贝多芬会在钢琴上即兴表演. 更多信息, 请看即兴表演. La época clásica, de alrededor de 1750 a 1820, estableció muchas de las normas de composición, presentación y estilo, y también fue cuando el piano se convirtió en el instrumento de teclado predominante. las fuerzas básicas necesarias para una orquesta se convirtieron en un poco estandarizados (aunque se como el potencial de una amplia gama de instrumentos se desarrolló en los siglos siguientes). la música de cámara creció para incluir conjuntos con tantos como 8 a 10 artistas para las serenatas. la ópera continuó desarrollándose, con estilos regionales en Italia, Francia, y tierras de habla alemana. la ópera bufa, una forma de ópera cómica, rosa en popularidad. la sinfonía entró en su propia forma de musical, y el concierto fue desarrollado como un vehículo para exhibiciones de habilidad de juego virtuoso. las orquestas ya no requieren un clavecín (que había sido parte del continuo tradicional en el estilo barroco), y a menudo fueron dirigidos por el violinista principal (ahora llamado el concertino). Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music. Although Classical music in the 2000s has lost most of its tradition for musical improvisation, from the Baroque era to the Romantic era, there are examples of performers who could improvise in the style of their era. In the Baroque era, organ performers would improvise preludes, keyboard performers playing harpsichord would improvise chords from the figured bass symbols beneath the bass notes of the basso continuo part and both vocal and instrumental performers would improvise musical ornaments. J.S. Bach was particularly noted for his complex improvisations. During the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto. During the Romantic era, Beethoven would improvise at the piano. For more information, see Improvisation. The Classical era, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardized (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as many as 8 to 10 performers for serenades. Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. The opera buffa, a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were often led by the lead violinist (now called the concertmaster). Jonathan Bellman schreibt das moderne Konzert-Performance-Set in der Wintergarten-Tradition des späten 19-und 20 Jahrhunderts, und eignet sich für große Auditorien oder Aufnahmen-der gegen das, was von Chopin ' S mehr Performance bekannt ist Technik. Der Komponist selbst sagte zu einem Schüler, dass Konzerte nie echte Musik sind, man muss auf die Idee verzichten, in ihnen alle schönsten Dinge der Kunst zu hören. Zeitgenössische Konten zeigen, dass Chopin in der Performance starre Verfahren, die ihm manchmal falsch zugeschrieben wurden, wie immer Crescendo zu einem hohen Note, aber dass er sich mit ausdrucksstark Phrasierung, rhythmische Konsistenz und empfindlicher Färbung beschäftigt hat. Berlioz schrieb 1853, dass Chopin eine Art chromatische Stickerei geschaffen hat... deren Wirkung so seltsam und pikantem ist, dass es unmöglich ist, zu beschreiben... praktisch niemand außer Chopin selbst kann diese Musik spielen und ihm diese ungewöhnliche Wendung geben. Hiller schrieb, dass das, was in den Händen der anderen war elegante Verschönerung, in seinen Händen zu einem bunten Kranz von Blumen geworden ist. Junto con el canto y la música bizantina (Iglesia), el pueblo griego también cultiva la canción folclórica griega que se divide en dos ciclos, el akritic y el klephtic. el akritic fue creado entre los siglos 9 y 10 y expresó la vida y las luchas de los akrites (Guardias Fronterizos) del imperio bizantino, el más conocido siendo las historias asociadas a digenes akritas. el ciclo klephtic llegó a ser entre el período bizantino tardío y el inicio de la guerra griega de la independencia. el ciclo Klephtic, junto con canciones históricas, paraloghes (canción narrativa o balada), canciones de amor, mantinades, canciones de boda, canciones de exilio y endechas expresan la vida de los griegos. Hay una unidad entre las luchas del pueblo griego por la libertad, sus alegrías y su tristeza y actitudes hacia el amor y la muerte. ब्लूज़ रॉक कार्य करता है कि ध्वनि में शामिल क्रीम, जिमि हेंड्रिक्स अनुभव, और जेफ बेक समूह. क्रीम, गीत में जैसे मैं मुक्त महसूस करता हूँ (1966) पॉप और psychedelia के साथ संयुक्त ब्लूज़ रॉक, विशेष रूप से एरिक क्लैप्टन के टुकड़ों और गिटार एकल में । जिमि हेंड्रिक्स ने ब्लूज़-प्रभावित साइकेडेलिक रॉक का एक रूप बनाया, जो जैज, ब्लूज़ और रॉक और रोल के संयुक्त तत्व है । 1967 से जेफ बेक ने तकनीकी नानी की नई ऊंचाइयों के लिए लीड गिटार लाया और अपने बैंड, जेफ बेक समूह के साथ भारी रॉक की दिशा में ब्लूज़ रॉक को स्थानांतरित किया । दवे के डेव डेविस, कीथ रिचर्ड्स द रोलिंग स्टोन्स के पीट टाउनशेंड, हेंड्रिक्स, क्लैप्टन और बेक सभी ने नए गिटार प्रभाव के उपयोग को के, प्रतिक्रिया और विकृति की तरह इस्तेमाल किया । बीटल्स ने 1968 में व्हाइट एल्बम के साथ शुरू होने वाली नई हार्ड रॉक शैली में गाने का निर्माण शुरू किया और ट्रैक helter skelter के साथ, जो की तुलना में शोर का एक बड़ा स्तर बनाने का प्रयास किया । स्टीफन के स्टीफन थॉमस erlewine ने helter skelter की आद्य धातु की दहाड़ का वर्णन किया है, जबकि इयान मैकडोनाल्ड ने तर्क दिया था कि भारी शैली में उनके प्रयास अपवाद के बिना नहीं थे । Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers." Frédéric François Chopin (/ˈʃoʊpæn/; French pronunciation: ​[fʁe.de.ʁik fʁɑ̃.swa ʃɔ.pɛ̃]; 22 February or 1 March 1810 – 17 October 1849), born Fryderyk Franciszek Chopin,[n 1] was a Polish and French (by citizenship and birth of father) composer and a virtuoso pianist of the Romantic era, who wrote primarily for the solo piano. He gained and has maintained renown worldwide as one of the leading musicians of his era, whose "poetic genius was based on a professional technique that was without equal in his generation." Chopin was born in what was then the Duchy of Warsaw, and grew up in Warsaw, which after 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising.