Riho Hasegawa Un Official Fan Site Tribute

Riho Hasegawa : This Is An Un Official Fan Site Tribute
Riho Hasegawa
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Movie Title Year Distributor Notes Rev Formats Dirty Celebrity 2013 Attackers Fluid Exchange, Intimate Sex: Riho Hasegawa 2012 S1 Love Affair Journey 2012 S1 Miracle Body Gal 2014 Kira Kira Repetition is important in music, where sounds or sequences are often repeated. It may be called restatement, such as the restatement of a theme. While it plays a role in all music, with noise and musical tones lying along a spectrum from irregular to periodic sounds,(Moravcsik, 114)(Rajagopal,[page needed]) it is especially prominent in specific styles. Contents
1 Repetition 2 Repetitive music 2.1 Psychological interpretations 2.2 Genres that use repetitive music 3 See also 4 References 5 Bibliography 6 Further reading Repetition A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. Repetition is a part and parcel of symmetry—and of establishing motifs and hooks. You find a melodic or rhythmic figure that you like, and you repeat it throughout the course of the melody or song. This sort of repetition...helps to unify your melody; it's the melodic equivalent of a steady drumbeat, and serves as an identifying factor for listeners. However, too much of a good thing can get annoying. If you repeat your figure too often, it will start to bore the listener.

—?(Miller, 106) Memory affects the music-listening experience so profoundly that it would not be hyperbole to say that without memory there would be no music. As scores of theorists and philosophers have noted...music is based on repetition. Music works because we remember the tones we have just heard and are relating them to the ones that are just now being played. Those groups of tones—phrases—might come up later in the piece in a variation or transposition that tickles our memory system at the same time as it activates our emotional centers...(Levitin, 162-163) Repeat sign with first and second endings Theodor Adorno criticized repetition and popular music as being psychotic and infantile. In contrast, Richard Middleton (1990) argues that "while repetition is a feature of all music, of any sort, a high level of repetition may be a specific mark of 'the popular'" and that this allows an, "enabling" of "an inclusive rather than exclusive audience"(Middleton 1990, p. 139). "There is no universal norm or convention" for the amount or type of repetition, "all music contains repetition - but in differing amounts and of an enormous variety of types." This is influenced by "the political economy of production; the 'psychic economy' of individuals; the musico-technological media of production and reproduction (oral, written, electric); and the weight of the syntactic conventions of music-historical traditions" (Middleton 1990, p. 268). Segno Thus Middleton (also 1999) distinguishes between discursive and musematic repetition. A museme is a minimal unit of meaning, analogous to morpheme in linguistics, and musematic repetition is "at the level of the short figure, often used to generate an entire structural framework." Discursive repetition is "at the level of the phrase or section, which generally functions as part of a larger-scale 'argument'." He gives "paradigmatic case[s]": the riff and the phrase. Musematic repetition includes circularity, synchronic relations, and openness. Discursive repetition includes linearity, rational control, and self-sufficiency. Discursive repetition is most often nested (hierarchically) in larger repetitions and may be thought of as sectional, while musematic repetition may be thought of as additive. (p. 146-8) Put more simply, musematic repetition is simple repetition of precisely the same musical figure, such as a repeated chorus. Discursive repetition is, "both repetitive and non-repetitive," (Lott, p. 174), such as the repetition of the same rhythmic figure with different notes. During the Classical era, musical concerts were highly expected events, and because someone who liked a piece of music could not listen to it again, musicians had to think of a way to make the music sink in. Therefore, they would repeat parts of their song at times, making music like sonata very repetitive, without being dull.(Bowen) Repetition is important in musical form. The repetition of any section of ternary form results in expanded ternary form and in binary form the repetition of the first section at the end of the second results in rounded binary form.(Benward & Saker, 315) Schenker argued that musical technique's, "most striking and distinctive characteristic" is repetition (Kivy, 327) while Boulez argues that a high level of interest in repetition and variation (analogy and difference, recognition and the unknown) is characteristic of all musicians, especially contemporary, and the dialectic [conversation] between the two creates musical form.(Campbell, 154) "Au clair de la lune", repetition after digression.(Copland & Slatkin) About this soundPlay (help·info) "Ach! du lieber Augustin", repetition after digression.(Copland & Slatkin) About this soundPlay (help·info) "The Seeds of Love" (English folk song), nonrepetition.(Copland & Slatkin) About this soundPlay (help·info) Types of repetition include "exact repetition" (aaa), "repetition after digression" (aba or aba'), and "nonrepetition" (abcd). Copland and Slatkin offer "Au clair de la lune" and "Ach! du lieber Augustin" About this soundPlay (help·info) as examples of aba, and "The Seeds of Love" as an example of the last.(Copland & Slatkin, [unpaginated]) At the tone level, repetition creates a drone. Repetitive music See also: Ostinato Some music features a relatively high degree of repetition in its creation or reception. Examples include minimalist music, krautrock, disco (and its later derivatives such as house music), some techno, some of Igor Stravinsky's compositions, barococo and the Suzuki method. (Fink 2005, p. 5) Other important genres with repetitive songwriting are post rock, ambient/dark ambient[1] and black metal.[2] Psychological interpretations Repetitive music has often been negatively linked with Freudian thanatos. Theodor Adorno (1948, p. 178) provides an example in his criticism of Igor Stravinsky, whose, "rhythmic procedures ostinato closely resemble the schema of catatonic conditions. In certain schizophrenics, the process by which the motor apparatus becomes independent leads to infinite repetition of gestures or words, following the decay of the ego." Similar criticism was levelled at Ravel's Bolero. Wim Mertens (1980, p. 123-124) argues that "In repetitive music, repetition in the service of the death instinct prevails. Repetition is not repetition of identical elements, so it is not reproduction, but the repetition of the identical in another guise. In traditional music, repetition is a device for creating recognizability, reproduction for the sake of the music notes of that specific line and the representing ego. In repetitive music, repetition does not refer to eros and the ego, but to the libido and to the death instinct." Repetitive music has also been linked with Lacanian jouissance. David Schawrz (1992, p. 134) argues that the repetition in John Adams's Nixon in China is "trapping listeners in a narrow acoustic corridor of the Real" while Naomi Cumming (1997, p. 129–152) argues that the repetitive string ostinatos of Steve Reich's Different Trains are "prearticulate" pieces of the Real providing a refuge from the Holocaust and its "horror of identification." Genres that use repetitive music DJs at disco clubs in the 1970s played a smooth mix of long single disco records to keep people dancing all night long. The twelve-inch single was popularized as a means to this end. While disco songs do have some repetitive elements, such as a persistent throbbing beat, these repetitive elements were counterbalanced by the musical variety provided by orchestral arrangements and disco mixes that added different sound textures to the music, ranging from a full, orchestral sound to stripped-down break sections. The electronic dance music genres that followed disco in the 1980s and 1990s, such as house music and techno kept the bass drum rhythm introduced by disco but did not use the orchestral arrangements or horn sections. House and techno had a more minimalist sound that layered electronic sounds and samples over a drum machine drum part and a repetitive synth bass bassline. Extremely repetitive song structures are also used by some black metal bands like Burzum,[3] Darkthrone, Forgotten Woods, Lustre and Striborg. Cycle has several meanings in the field of music. Acoustically, it refers to one complete vibration, the base unit of Hertz being one cycle per second.[1] Theoretically, an interval cycle is a collection of pitch classes created by a sequence of identical intervals. Individual pieces that aggregate into larger works are considered cycles, for example, the movements of a suite, symphony, sonata, or string quartet.[2] This definition can apply to everything from settings of the Mass or a song cycle to an opera cycle. Cycle also applies to the complete performance of an individual composer's work in one genre.[3] Harmonic cycles—repeated sequences of a harmonic progression—are at the root of many musical genres, such as the twelve-bar blues. In compositions of this genre, the chord progression may be repeated indefinitely, with melodic and lyrical variation forming the musical interest. The form theme and variations is essentially of this type, but generally on a larger scale. Composition using a tone row is another example of a cycle of pitch material, although it may be more difficult to hear because the variations are more diverse. Contents 1 Rhythmic cycles 1.1 Indian classical music 1.2 Music of Indonesia 1.3 Sub-Saharan African music traditions 2 Mixed cycles 3 Opera cycles 4 See also 5 References Rhythmic cycles Indian classical music Main article: Indian classical music In Indian classical music, a specific rhythmic structure known as a tala is repeated through the length of the raga, and used as a basis for improvisation of the drum parts. Music of Indonesia In the gamelan music of Indonesia, there are nested gong cycles which determine the rhythmic framework of the piece. This sort of cycling is called colotomy. In the same way as specific harmonic cycles determine the genre of many Western pieces (like the blues), gamelan pieces are classified according to their colotomic structures. Some other styles of music, such as gagaku or pi phat, have been analyzed colotomically. Sub-Saharan African music traditions Main article: Sub-Saharan African music traditions Rhythm in Sub-Saharan Africa is typically generated by multiple cross-rhythmic cycles, in relation to a primary cycle of four main beats.[4] This basic musical period has a bipartite structure; it is made up of two rhythmically opposed cells, consisting of two beats each.[5] Kubik points out that the four-beat cycle is a shorter period than what is normally heard in European music. This accounts for the stereotype of African music as "repetitive." The cycles have a beginning and an end, with the two joining.[6] The lead instrument, or soloist, may temporarily contradict the primary cycle with cross beats and larger phrases, but awareness of the cycle is ever present.[7] In many sub-Saharan and Disapora musics, a key pattern, typically played on a bell, establishes the basic cycle or period.

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