The asefru (pl. isefra) is a poetic composition of the Berber literature of Kabylia. It is a sort of short sonnet with a ternary structure, formed by three strophes of three verses each. The rhymes follow the pattern AAB AAB AAB, while the length of the three verses of each strophe is 7 + 5 + 7 syllables.
It is a relatively new meter compared to those from traditional poetry, probably born around the middle of the 19th century, and the poet who has indissolubly linked his name to this type of composition is Si Mohand. The asefru is usually read or recited but can also be sung, and numerous examples of isefra sung are present in the repertoire of different Kabyle singers, such as Taos Amrouche (for example Vaste est la prison, Vast is the prison), Slimane Azem (Effɤ ay ajrad tamurt-iw, Grasshopper, leave my country) or Malika Domrane (Nnehta, Sighing).
An example of asefru (Si Mohand):
Ggulleɣ seg Tizi-wuzzu | I swear, from Tizi Ouzou |
An ode is a type of lyric poetry, with its origins in Ancient Greece. Odes are elaborately structured poems praising or glorifying an event or individual, describing nature intellectually as well as emotionally. A classic ode is structured in three major parts: the strophe, the antistrophe, and the epode. Different forms such as the homostrophic ode and the irregular ode also enter.
A strophe is a poetic term originally referring to the first part of the ode in Ancient Greek tragedy, followed by the antistrophe and epode. The term has been extended to also mean a structural division of a poem containing stanzas of varying line length. Strophic poetry is to be contrasted with poems composed line-by-line non-stanzaically, such as Greek epic poems or English blank verse, to which the term stichic applies.
Antistrophe is the portion of an ode sung by the chorus in its returning movement from west to east in response to the strophe, which was sung from east to west.
"Il Canto degli Italiani" is a patriotic song written by Goffredo Mameli and set to music by Michele Novaro in 1847, currently used as the national anthem of Italy. It is best known among Italians as the "Inno di Mameli", after the author of the lyrics, or "Fratelli d'Italia", from its opening line. The piece, in 4/4 time signature and B-flat major key, has six strophes, and a refrain sung after each. The sixth group of verses, almost never performed, recalls the first strophe's text.
The ballade is a form of medieval and Renaissance French poetry as well as the corresponding musical chanson form. It was one of the three formes fixes and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries.
In music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments, or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."
"Form refers to the largest shape of the composition. Form in music is the result of the interaction of the four structural elements described above [sound, harmony, melody, rhythm]."
In the theory of musical form, through-composed music is a continuous, non-sectional, and non-repetitive piece of music. The term is typically used to describe songs, but can also apply to instrumental music.
Strophic form – also called verse-repeating form, chorus form, AAA song form, or one-part song form – is a song structure in which all verses or stanzas of the text are sung to the same music. Contrasting song forms include through-composed, with new music written for every stanza, and ternary form, with a contrasting central section.
The morna is a music and dance genre from Cape Verde. It was proclaimed Intangible Cultural Heritage of Humanity by UNESCO on December 11, 2019.
The conductus was a sacred Latin song in the Middle Ages, one whose poetry and music were newly composed. It is non-liturgical since its Latin lyric borrows little from previous chants. The conductus was northern French equivalent of the versus, which flourished in Aquitaine. It was originally found in the twelfth-century Aquitanian repertories. But major collections of conducti were preserved in Paris. The conductus typically includes one, two, or three voices. A small number of the conducti are for four voices. Stylistically, the conductus is a type of discant. Its form can be strophic or through-composed form. The genre flourished from the early twelfth century to the middle of thirteenth century. It was one of the principal types of vocal composition of the ars antiqua period of medieval music history.
A virelai is a form of medieval French verse used often in poetry and music. It is one of the three formes fixes and was one of the most common verse forms set to music in Europe from the late thirteenth to the fifteenth centuries.
The gradual is a certain chant or hymn in liturgical Christian worship. It is practiced in the Catholic Mass, Lutheran Divine Service, Anglican service and other traditions. It gets its name from the Latin gradus because it was once chanted on the step of the ambo or altar. It is customarily placed after a reading of scripture.
A rondeau is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. Together with the ballade and the virelai it was considered one of three formes fixes, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. It is structured around a fixed pattern of repetition of verse with a refrain. The rondeau is believed to have originated in dance songs involving singing of the refrain by a group alternating with the other lines by a soloist. The term "Rondeau" is used both in a wider sense, covering older styles of the form which are sometimes distinguished as the triolet and rondel, and in a narrower sense referring to a 15-line style which developed from these forms in the 15th and 16th centuries. The rondeau is unrelated to the much later instrumental dance form that shares the same name in French baroque music, which is more commonly called the rondo form in classical music.
Syriac sacral music is music in the Syriac language as used in the liturgy of Syriac Christianity. Historically it is best known from and important for its part in the development of Christian sacred music since Antiquity.
A responsory or respond is a type of chant in western Christian liturgies.
Bar form is a musical form of the pattern AAB.
A canon is a structured hymn used in a number of Eastern Orthodox services. It consists of nine odes, based on the Biblical canticles. Most of these are found in the Old Testament, but the final ode is taken from the Magnificat and Song of Zechariah from the New Testament.
Si Mohand ou-Mhand n At Hmadouch, also known as Si Mhand, was a widely known Berber poet from Kabylie in Algeria. Called the "Kabyle Verlaine" by French scholars, his works were translated by fellow Algerians Mouloud Feraoun, Mouloud Mammeri and Boulifa and one of the translations was Les poémes de Si-Mohand (1960). Due to difference of information and sources, some details of his life are not clearly known.
The ataaba is a traditional Palestinian Arabic musical form sung at weddings, festivals, and other occasions. Popular in the Middle East, especially in levantine countries such as Palestine, Lebanon, & Jordan, it was originally a Bedouin genre, improvised by a solo poet-singer accompanying themselves on the rababa. As part of Arab tradition, ataabas are generally performed by a vocal soloist, without instrumental accompaniment, who improvises the melody using folk poetry for the verse.
Milyan, also known as Lycian B and previously Lycian 2, is an extinct ancient Anatolian language. It is attested from three inscriptions: two poems of 34 and 71 engraved lines, respectively, on the so-called Xanthian stele (or Xanthian Obelisk, found at Xanthos, and another, shorter, inscription on a sarcophagus at Antiphellus. All three poems are divided in strophes.