In Mr. Aucoin's pulsing, fitful score, the orchestra simmers with rattling ostinatos and darting lines.
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The intricate, industrious patterns — involving plaintive lines, obsessive ostinatos, string scratchings and more — exuded adventure and intensity.
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A squad of jugglers—inspired by a practice seen in Pharaonic art—enlivened Glass's more loquacious ostinatos.
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She is excellent at animating the buzzing, frenetic riffs and fleeting ostinatos that ripple through the score.
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Guitar and keyboard riffs in rock and pop also count as ostinatos, but they're typically more inviting.
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There are stretches in the first movement in which frenetic marimba volleys skirt atop jittery string ostinatos that break into cresting harmonic waves.
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Possible influences are the classic horror movie scores of Halloween, Suspiria, and The Exorcist, which contain high-pitched ostinatos as their main themes.
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Like, fuck catchy hooks, fuck messages of unity and hope, all you need is seven-string guitars, piano ostinatos, and the galaxy-annihilating desire to WIIIIIIIIIIIIIIIIIIIIIIN.
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Mr. Tyner's playing on this track is disciplined and neatly contained, but you can easily spot the signature shadings of his harmonies and his trilling ostinatos.
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The ostinatos of trap buck trends of conventional, "nice" harmony (pun intended) and unbalance the listener, letting them know that they are not in safe waters.
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Their Beethoven is no cosmic enigma: you register the physicality of his stomping ostinatos, the off-kilter drive of his dance movements, the playful abruptness of his stylistic transitions.
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Each song had its own texture: Some grew out of a drone, others out of gently undulating arpeggios; another was pushed along by crisp rhythmic ostinatos punched out on the harpsichord.
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The cellists, conducted by Caleb Burhans, performed this work of grunge-metal chamber music, driven by chugging ostinatos and soaring high melodies, with headbanging intensity and a unique brand of shrill lyricism.
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For the first five minutes, the band plays the equivalent of an abstract overture, throwing sounds around — Mr. Clayton's jangling ostinatos; Mr. Lage's bright, streaky lines; Mr. Lloyd's restless, wriggling tenor — without coming together.
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GOGO PENGUIN With the lineup of a standard piano-bass-drums jazz trio, GoGo Penguin made a different kind of music: repetitive and accretive like dance music, richly chorded over ceaseless ostinatos, reveling in permutations.
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Together they set up intricate cross-rhythms in the faster songs, with tom-toms and rim taps syncopated over piano ostinatos that could stretch out open-ended, giving Mr. Clementine room to repeat lines with shades of gathering drama.
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GoGo Penguin "Unspeakable World" (Blue Note) The piano-bass-drums trio GoGo Penguin bridges jazz, Minimalism and (even with acoustic instruments) the strategies of dance music, stacking up elaborate ostinatos and seeing how, with a little guidance, they can evolve. 22.
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For me, the line "Short ideas repeated massage the brain" from "Perfect Lives" became a mantra that at once exemplifies the compositional promise of minimalism and sends it up: what if all those conveyor-belt hammerings of ostinatos were up to nothing deeper than massage?
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"Every individual in the orchestra, at some point in this piece, has to make a personal decision about what note to play and when to play it," Mr. Faegre writes in his program notes to this darkly exhilarating piece in which chugging ostinatos are chipped at by irregular percussion accents.
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It's common practice to combine single and double-celled ostinatos in Afro-Cuban music.
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In fact, there are something like thirty-six different ostinatos, which are used to coordinate a complex stream of sounds .
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Bartig views the Queen of Spades music, with its ostinatos and sparse textures, as the quintessential embodiment of these ideas.
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She often employs a contrapuntal use of lines that employ hemiola, cross-rhythm and phrasing, irregular phrasing and metric accents, rhythmic ostinatos, and mixed meters.
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They include occasional ostinatos and scalewise flourishes, foreshadowing developments later in the century. Four of these pieces have survived, and were published in the 1940s in I classici musicali italiani (Milan).
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A "micro-cadenza" of arpeggios in the piano bridges the sultry in the orchestra with another variation of Charleston accompaniment and pentatonic melody. Gershwin plays with this variant of the sultry in E major as he leads the listener to a climax of the piece. After the climax, Gershwin combines Charleston, pentatonic melody and fast-paced triplets to modulate from one key to another before reintroducing another sultry variation in D-Flat major. Charleston rhythms transition from the sultry to the "Grandioso" climax followed by triplet ostinatos, fast-paced chords, more ostinatos and a C dominant 7 scale.
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The quartet, like all but the first of Villa-Lobos's works in the medium, consists of four movements: #Allegro non troppo #Molto Vivo #Molto Adagio #Allegro con fuoco The opening of the first movement establishes a motive that recurs throughout the quartet in various transformations. At first, it recalls Prokofiev or Shostakovich, but later is given a context more suggestive of Ravel. The generally pentatonic melodic contours and long ostinatos initially tend toward monotony and inexpressiveness, but the ostinatos give way to a more plastic and lively treatment later in the movement. The second movement, Molto vivo, was listed in the programme for the premiere performance as "Scherzo satirico".
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Technically, the changüi ensemble consists of: marímbula, bongos, tres, güiro (or guayo) and one or more singers. Changüi does not use the Cuban key pattern (or guide pattern) known as clave.Lapidus, Ben (2008) p. 140. The tres typically plays offbeat guajeos (ostinatos), while the guayo plays on the beat.
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Paranda is both a Garifuna rhythm and music with Arawak and African elements which utilizes rhythmic ostinatos in duple meter. Similar to punta, the paranda is a slower rhythm than punta and reflects Spanish influences. Traditionally, the guitar is played in paranda and not in punta. and its melodies are soulful lamentations.
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Original Music cassette tape (1986). Some African guitar genres such as Zimbabwean chimurenga (created by Thomas Mapfumo), are a direct adaptation of traditional ostinatos, in this case mbira music. Most genres though, maintain to some degree, a guajeo template upon which indigenous elements were grafted. Congolese soukous is an example of the latter case.
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Gray v. Perry, No. 2:15-cv-05642 (C.D. Cal.), Wais Declaration in Support of Motion for Summary Judgment, Exhibit 3 Expert Report of Todd Decker (April 6, 2017) In both songs, a short ostinato is used repeatedly to form part of the beat of each song and both ostinatos share similar descending shapes. Gray et. al.
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Frequently in African music two or more ostinatos moving contrapuntally are employed, with or without a longer melodic line to create an orchestral texture (dense textures are desired and aimed for by both composers and performers alike). This type of polyphony is of the contrapuntal or horizontal type. In practice each ostinato moves in independent melodic and rhythmic patterns.
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A lick is different from the related concept of a riff, as riffs can include repeated chord progressions. Licks are more often associated with single-note melodic lines than with chord progressions. However, like riffs, licks can be the basis of an entire song. Single-line riffs or licks used as the basis of Western classical music pieces are called ostinatos.
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"Echoes in Rain" has a 'buoyant optimism' due to the 'marching' rhythmic ostinatos and pizzicato strings. The a cappella multi-vocal ending was compared to Enya's breakthrough single "Orinoco Flow". "Echoes in Rain" is played in a minor scale (explicitly F-sharp minor). Enya's vocals span 2 octaves from the low note of B2 to the high note of E5.
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Alfred Music, 1981. pp. 5–6 Two-handed sixteenth notes on the hi-hats, sometimes with a degree of swing feel, is used in funk. Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music, ostinatos, that are repeated "with only slight variations", an approach which he says causes the "mesmerizing" nature of funk.Payne, Jim.
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Twenty-five motets by La Rue survive. They are mostly for four voices. While they use imitation, the technique is more likely to occur within sections and phrases rather than at their openings, unlike in the style of Josquin.Davison, 25 Another stylistic feature characteristic of La Rue's motets is the use of ostinatos, which may be a single note, an interval, or a series of notes.
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Little (Chamber) Symphony No.4: (Dixtour pour instruments à cordes), Op.74, by Darius Milhaud is a work for 10 string instruments composed in Vienna in 1921. It is not to be confused with Symphony No.4. The music is polytonal and progresses through a variety of contrasting moods. The first two movements employ ostinatos to repeat basic musical ideas. The first movement is marked “Animé”.
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The final movement begins with very fast string passages with no barlines to express the sensation of flight.Whitehouse, Liner Notes Samuel Barber uses tension and release throughout to create a greater sense of energy. His use of ostinatos, polytonality,Broder, "The Music of Samuel Barber", 345 dissonance, and angular lines create a work that can be described as one of Barber's most progressive works.Nathan Broder.
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They are played with sticks and hands, and often fulfill roles that are traditional to the family. The 'child' or 'baby brother' drum, kagan, usually plays on the off beats in a repeated pattern that links directly with the bell and shaker ostinatos. The 'mother' drum, kidi, usually has a more active role in the accompaniment. It responds to the larger sogo or 'father' drum.
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Contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin jazz. A lick can be a hook, if the lick meets the definition of a hook: "a musical idea, a passage or phrase, that is believed to be appealing and make the song stand out", and "catch the ear of the listener".Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005).
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Cuauhnáhuac employs a chromatic and dissonant idiom suggesting the primitivist folk-like style of early Stravinsky. This is achieved through the use of percussive, polyrhythmic relationships, ostinatos, and irregular metric successions . The opening section blends the influence of Claude Debussy with that of Stravinsky . Like many of Revueltas's single-movement works, it is cast in a tripartite form, in which the atonal opening character returns in the chromatic concluding part.
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Linear drumming is a drum kit playing style in which no drum, cymbal, or other drum component hits simultaneously. Unlike other forms of time keeping and fills, there is no layering of parts. For example, if playing a cymbal, no other drum set voice, such as a snare or bass drum, would be hit at the same time. Various cymbal ostinatos and other stickings can be used, but are not required.
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Dizzy Gillespie, 1955 Mario Bauzá introduced bebop innovator Dizzy Gillespie to Cuban conga drummer and composer Chano Pozo. Gillespie and Pozo's brief collaboration produced some of the most enduring Afro-Cuban jazz standards. "Manteca" (1947) is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro- Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge.
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In the transition to theme three, the bassoons play a harmony that sets up a modulation to A♭ major. In this new key and new theme, the accompaniment returns to the clarinets, which play trills. The effect depends not so much on the notes as on the contrast between the sonority of the trills and the euphonium solo. The music modulates to B♭ major, and the bassoons, euphoniums and tubas play harmonic ostinatos.
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The rumbling of a train is heard frequently in The Idea of North, the ocean in The Latecomers, and a church sermon and choir in The Quiet in the Land. Again referring to music, Gould called these elements ostinatos. The Idea of North ends with the last movement of Karajan's recording of Sibelius' Symphony no. 5 in E flat major, the only use of a complete movement from the classical repertoire in the trilogy.
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A distinguishing characteristic of the movement is its sophisticated handling of harmonic progressions, technically atonal though supporting a diatonic melody dominated by the interval of a minor third. Ives referred to the piece as a brooding "Black March", inspired by a reflective experience at the monument. The piece evokes images of a long, slow march South to battle by the 54th. It achieves this with the use of minor third ostinatos in the bass.
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Brown's style of funk in the late 1960s was based on interlocking syncopated parts: strutting bass lines, syncopated drum patterns, and iconic percussive guitar riffs.Slutsky, Allan, Chuck Silverman (1997). The Funkmasters-the Great James Brown Rhythm Sections. . The main guitar ostinatos for "Ain't It Funky" and "Give It Up or Turn It Loose" (both 1969), are examples of Brown's refinement of New Orleans funk; irresistibly danceable riffs, stripped down to their rhythmic essence.
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Like Planos, Ventanas is exceptional among Revueltas's single-movement works in that it does not fall into a three- part structural pattern but rather is formally free and through-composed . Ventanas, characteristic of Revueltas's style, employs pedal tones and ostinatos as bases for musical constructions which usually are accumulations of rhythms and instrumental textures. Broadly melodic sections contrast with others in which small motives are developed rhythmically. These fragmentary motives recall folk music, often as melodies in parallel thirds.
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Mario Bauzá introduced bebop innovator Dizzy Gillespie to the Cuban conga drummer, dancer, composer, and choreographer Chano Pozo. The brief collaboration of Gillespie and Pozo produced some of the most enduring Afro- Cuban jazz standards. "Manteca" (1947), co-written by Gillespie and Pozo, is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge.
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Early on he abandoned academic serialism in favor of music inspired by Medieval mensural notation, Renaissance polyphony and Baroque counterpoint. For a period of time, he began each day with coffee and cigarettes, while composing a strict canon and fugue. His music was generally tonal or modal in character, often utilizing alternative tunings, modular forms, interlocking ostinatos and scores with open or flexible instrumentation. He was one of the earliest composers working in a post-minimal style.
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The music generated in the Orff Approach is largely improvisational and uses original tonal constructions that build a sense of confidence and interest in the process of creative thinking. Students of the Orff Approach sing, play instruments, and dance alone as well as in groups. Songs are usually short, contain ostinatos, are within singing range, can be manipulated to be played in a round or ABA form. "Music is chosen with strong nationalistic flavor, being related to folk songs and music of the child’s own heritage".
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It is tripartite in structure, though the overriding aesthetic is one of continual change. Although the final section returns to the texture of the first and recapitulates some of its material, this is only used as a background for the introduction of seven new motives, another mestizo melody, and two more ostinatos. Given the amount of new material introduced, it would be more accurate to describe it as an ABC form than an ABA . The simultaneous presentation of different motivic material produces a pervasive, dissonant polytonality.
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Strings and two pianos: the introduction begins with the pianos playing a bold trill, under which the strings enter with a stately theme. The pianos play a pair of glissandos going in opposite directions to conclude the first part of the movement. The pianos then introduce a march theme that they carry through most of the rest of the introduction. The strings provide the melody, with the pianos occasionally taking low chromatic scales in octaves which suggest the roar of a lion, or high ostinatos.
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Joby Talbot, composer, Path of Miracles (London: Chester Music Ltd, 2005) Talbot uses ostinatos throughout the composition extensively, emulating the long walk endured by the pilgrims. Talbot also employs clashing tonalities, encapsulating the pain endured physically as well as the intense mental contemplation that a pilgrimage necessitates. While the basses drone pedal tones, a slow rhythmic transformation develops into a driving engine that, with gradually shorter and more syncopated rhythms, propels the music forward. In all, Rocesvalles replays the life and martyrdom of St. James and conveys to how his body came to rest in Santiago.
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It was produced by the band's Jamie Smith, who had pursued electronic dance on other projects and developed as a DJ prior to the album. Coexist features a minimalist musical style with spatial arrangements, loose song structure, little dynamism, and experimentation with tension. Its songs are characterised by sparse elements such as simple chord progression, keyboard ostinatos, and fading motifs, while Smith's production incorporates both programmed beats and live percussion instruments. The lyrics, written by guitarist Romy Madley Croft and bassist Oliver Sim, feature inner monologue and simple metaphors to explore a failing relationship and the emotional dynamics of a romance.
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Like the first movement, it is largely dependent on ostinatos, but in place of pentatonic melodies its thematic material utilizes the whole-tone scale. The third, slow movement, transforms the leitmotif into something resembling the theme of the piano piece Lenda do caboclo. The finale restates motives from all of the preceding parts, especially the main subject of the first movement, to produce a cyclic formal closure. However, despite this motivic cross-referencing, Villa-Lobos does not take advantage of the possibilities this offers for the kind of rich thematic development found in the Viennese classical masters .
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From here, the music alternates with contrasting sections of grandiosity and delicacy. The climax is reached at the Grandioso, in which the orchestra resounds the piano's original melody, accompanied by a large triplet figure in the soloist. There is a cadenza of quick triplet ostinatos which leads to the final section: speeding octaves and chords, culminating in a large run of the triplet ostinato up the keyboard along an F Major 6 chord, bringing the movement to a close. The second movement is reminiscent of the blues - beginning with an elegant melody in a solo trumpet accompanied by a trio of clarinets.
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The Allmusic review by Richard S. Ginell awarded the album 3 stars, noting, "Ritual has several of the characteristics of Jarrett's solo improvisations -- the repetitive vamps and ostinatos, wistful lyricism, ruminative episodes developing organically out of what preceded them -- but without the jazzy/bluesy feeling that runs through the solo concerts. Also, the piece begins in a mournful way unusual for the usually optimistic Jarrett. In any case, it is a thoughtful, absorbing composition, thoroughly tonal harmonically, played with assured technique and appropriate use of classical expressive devices by Davies. Classical listeners as well as Jarrett devotees will find much to savor here".
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The songs are characterized by droning harmonies, simple chord progression, keyboard ostinatos, ringing guitar, resounding reverb, slight bass grooves, and programmed beats. Sim plays counterpoint melodies on his bass, while Croft plays angular figures, sketchy musical patterns, and melodies developed from two-note intervals; Price likens Croft's use of the guitar to playing a harp. Smith's production is largely responsible for the music's lowest frequency sounds and incorporates both four on the floor and 2-step beats, subtle BPM changes, heartbeat-like drum machine rhythms, strings, and live percussion such as timpani, snare drums, and steelpans. The latter instrument is played in arpeggio and exhibits Jamaican music influences.
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Plaintiffs' contentions The plaintiffs argued that proper application of the extrinsic test to the facts and evidence submitted must reasonably lead to a clear finding of substantial similarity emphasizing that the Ninth Circuit accords protection to a wide range of musical elements taken alone or in combination.United States v. Hamilton, The plaintiffs referred to Swirsky to highlight that, “it cannot be said as a matter of law that seven notes is too short a length to garner copyright protection.” The multiple similarities between the songs were not commonplace and Dr. Decker identified several other shared elements which, in combination, contribute to the distinctiveness of the ostinatos.
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In 2019, Decker testified as an expert witness in a lawsuit against Katy Perry, stating that Christian rapper Flame produced a "unique" eight-note "ostinato" - a repeating sequence of musical figures within a song - which Flame's legal team claims Perry plagiarized. Decker further testified that the ostinatos used in Perry's 2013 song "Dark Horse" and Flame's 2008 song "Joyful Noise" share “five or six points of similarity.” A blog post by copyright law expert Stephen Carlisle supported the verdict. A jury verdict that found the Katy Perry song did infringe the copyright of Flames's song was overturned on appeal on the 16th March 2020.
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Hardly any discords. The colour white, or just a shade bluish, sometimes a golden light is added. Treatment of the 12 voices in his work about the “Cantique des Cantiques” [Song of Songs] also remains diatonic, both in his pianissimo and forte. His work on part of “l’Apocalypse” [The Book of Revelation] provides a new timbral element with staccato of the horn and the clarinet. Plainsong is introduced in his “Psaumes pour la Messe des Morts” [Psalms for the Requiem Mass], as well as dramatic effects where the beating of the tam-tam comes up against the ostinatos of the marimba, against the calls of the female voice.
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Voices of the angelic choir herald León, the last post remaining before Santiago, a stark contrast to the pleading prayers evoked in Burgos. Ostinatos, like previous movements, are the backdrop Talbot uses to set his melodies, like a psalm-tone in Gregorian chant. The harmonies are more consonant, and even the texts reflect a hopeful and aspiring love: Beate, qui habitant in domo tua, Domine; In saecula saeculorum laudabant te (Blessed are they that dwell in thy house: they will be still praising thee [Psalm 84:4]).Crouch, p. 12-13 Diatonic and step-wise in motion, the simplicity of melody is a chant, a song of wonder, for the graces of God’s gifts.
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The court mentioned that for the purposes of summary judgment, only the extrinsic test was important because the subjective question of intrinsic similarity must be left to the jury. The Plaintiff’s submitted, through their musicologist Todd Decker, that the songs shared "five or six points of similarity"; specifically, the ostinatos , which were either identical in both songs, or nearly similar in their phrase length, rhythm, pitch content, and timbre. The defendants attempted to convince the judge otherwise through the report of their own expert, arguing that the two songs shared no significant similarities beyond generic elements. They argued that commonplace elements are not copyrightable to begin with because they are part of the inventory of fundamental musical ideas.
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Harmonically it outlines a bluesy I9 chord (with the flat > seventh!). Rhythmically, it places hard syncopations on the eighth note > preceding both the first and third beat of the second measure, while its > final three eighth notes provide momentum that effectively leads into the > repeat. Musicologist Walter Everett highlights the riff as an example of the Beatles drawing inspiration from other artists and improving on the source material. He sees the "Day Tripper" riff as a combination of the ostinatos heard on Motown recordings such as the Temptations' "My Girl", Barrett Strong's "Money (That's What I Want)" and Marvin Gaye's "I'll Be Doggone", while also incorporating a rockabilly element that recalls Roy Orbison's "Oh, Pretty Woman".
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Of particular significance is the main melody, which is made up of a patchwork of motives from old plantation tunes or parlor songs such as "Massa's in the Cold Ground" and "Old Black Joe", and the patriotic Civil War songs "Marching Through Georgia" and "The Battle Cry of Freedom". The paraphrasing of these pieces is especially clear in the opening bars of the piece, where motives from the three main sources interweave to create an American-sounding pentatonic melody typical of many 19th-century American songs. Throughout the opening of the piece, ostinatos based upon minor third intervals are heard in the bass instruments. These are intended to evoke images of a solemn trudge down to battle.
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Bellis recorded four-days worth of orchestra parts performed by various ensembles that had 55 players at most, and the electronic instruments were tracked at Ray Colcord's home studio. Bellis' use of motifs and ostinatos in It were inspired by the works of Bernard Herrmann. The music features motifs of not only each Loser and Pennywise but also themes of nostalgia and the difference between the past and the present. In presenting the story's varied tone, the score mixes together adventurous orchestra motifs (especially so for the music of the last showdown between It and the Losers), horror synthesizer pieces, circus music, big band jazz, creepy sound design touches, and trumpet-heavy music accompanying the setting of Derry.
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" Andy Gill of The Independent similarly opined, "The orchestra's ostinatos initially seem to hinder the string quartet's nimble interplay, but by the end of the opening section, the quartet seems suddenly freed, dancing gaily into the subsequent Presto. It's this lightness of spirit with which Adams evokes the scherzo, establishing an ebullient charm which continues through to the concluding 'Prestissimo'." The music was also praised by Eric C. Simpson of the New York Classical Review, who observed, "At any rate, intended or not, Absolute Jest should be devastatingly funny to any listener who is well versed in Beethoven's oeuvre." Lisa MacKinney of Limelight said, "It's hugely playful, in the literal sense of scherzo as joke/jest, but it is by no means lightweight, flippant or ironic.
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Eberhard Weber - Portrait by Gert Chesi Weber began recording in the early 1960s, and released The Colours of Chloë (ECM 1042), his first record under his own name, in 1973. In addition to his career as a musician, he also worked for many years as a television and theater director. He has designed an electric- acoustic bass with an additional string tuned to C. Weber's music, often in a melancholic tone, frequently utilizes ostinatos, yet is highly organized in its colouring and attention to detail. He was an early proponent of the solid- body electric double bass, which he has played regularly since the early 1970s. From the early 1960s to the early 1970s, Weber's closest musical association was with pianist Wolfgang Dauner.
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Suddenly some of the brass and remaining woodwind enter with The Chord a minor third higher, and now no fewer than ten of the twelve semitones of the chromatic scale are being sounded at once. As the tension and volume increases to near unbearable level, the trumpets and trombones together sound the two remaining notes, B flat and D flat, which lead into the final section of the work, the finale, beginning with these two notes sounding and thundering timpani. The last and longest section is arguably the most violent music Simpson ever wrote, its nearly constantly loud dynamic being complemented by its volcanic and obstreperous character. Brass and percussion interject powerful ostinatos, which are built up quietly in the strings.
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This piece was inspired by a walk Ives had taken with his new wife, Harmony, in June 1908 on a honeymoon hiking trip in western Massachusetts and Connecticut, a rural setting they enjoyed so much that they chose to go back to the Berkshires the very next weekend. While there, they took a walk by the Housatonic River near Stockbridge, Massachusetts. Ives recalled, Two days later, on 30 June 1908, Ives sketched some ideas to try to capture the atmosphere of this rustic scene. He used irregular, quasi-isorhythmic ostinatos in the violins to create the image of mist and fog rolling over swirling waters, and an English horn and violas to mimic the sound of singing from a church across the river.
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By January 2014, it had reached Number 1 on the Billboard 200 chart, where it remained for weeks. In both songs, a short ostinato is used repeatedly to form part of the ‘beat’ of each song and both ostinatos share the same descending shape, though the ostinato of Joyful Noise uses three notes, while that of Dark Horse uses four. The defendants alleged that public distribution of CDs of Prism, duplication and uploading of digital versions of defendants’ song on websites for purchase, as well as public performance of the song at various concerts and events by the plaintiff violated their copyright in Joyful Noise. In addition, Capitol Records prepared the music video of defendants’ song and arranged for its commercial syndication and publication on YouTube and other commercial sites.
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Pohjanmaan kautta, which had a libretto written by Tiina Puumalainen, is a story of Prohibition in Ostrobothnia (the title is literally translated as "through Ostrobothnia", a Finnish toast). They have all been premiered in Ilmajoki and are usually performed outside. His music is characterised as being wistful and restless, featuring playful melodies and brusque ostinatos. They often emphasise brass instruments, and include two symphonies including one for brass quintet and orchestra (notable for its aleatoric counterpoint), concerti (double bass in 1979, flute in 1985, tuba in 1986, violin in 1989 and trombone in 1994) and chamber music (importantly, a Wind Quartet and a String Quintet, both of 1993; also Taikalamppu for brass quartet, Dedications, Memories (1985) for brass quintet, the Wind Nonet (1985) and the Brass Quintet (1991)).
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118) describes the cut, repetition on the level of the beat, ostinato, and the harmonic sequence, as what makes improvisation possible. In a cut repetition is not considered accumulation. "Progress in the sense of 'avoidance of repetition' would at once sabotage such an effort" (Snead, "Repetition as a Figure of Black Culture", 1984, p. 68). Brackett (ibid) finds the cut in all African American folk and popular music "from ring to rap" and lists the blues (AAB), "Rhythm" changes in jazz, the AABA form of bebop, the ostinato vamps at the end of gospel songs allowing improvisation and a rise in energy, short ostinatos of funk which spread that intensity throughout the song, samples in rap, the last of which cuts on two levels, the repetition of the sample itself and its intertexual repetition.
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In his composition Notturni for string quartet and wind quintet (1983, the Belgrade October Prize), Mihajlović made very successful intra-musical dialogue between the avantgarde musical language (Polish avantgarde school) and classical expression. There, the allusive tone-painting of nocturnal ambients was boldly combined with semi-hidden citations, in functional use of the avantgarde and classical composing techniques rooted in the Scriabine mode verticals.Z. Premate, New Works of Our Composers, Treći program (Third Programme), Radio- Belgrade, 1984. Such comprehension of music as the extrapolation of a personal world of expression is the main characteristics of all Mihajlović’s works as of the mid-1980s: three songs for soloists and choir What Do I Dream (Šta sanjam, 1984), Bagatelle (1986) for violin and strings, Elegy (Elegija, 1989) for strings, Three preludes (1986–89) for piano. Scriabine’s mode remained the constant of Mihajlovic’s expression, as the basis for the inventive harmony that specifically "colours" his music, and so did the reduction to small thematic cores from which "arise" its main motives and the linear movement as a whole, frequently with ostinatos and pedals.
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What Festa does with the cantus firmus, a simple melody containing 37 notes, is not only extravagant and amazingly creative. He shows practically all possibilities of counterpoint technique of his time, using canons (even triple canon), imitations, free or strict counterpoint, all styles of instrumental and vocal composition technique like using soggetti cavati, plainchant paraphrases, retrograde counterpoint, ostinatos, quodlibets, using 2, 3, 4, 5, 6, 7, 8, and at the end 11 voices. Remarkable and outstanding in this work, also called I bassi, is not only the scholastic academical or pedagogical sense but that it can be played on all sorts of instruments; it contains all kind of combinations of general clefs and therefore creates all kinds of instrumental output possibilities such as the cantus firmus in the first voice and four basses as counterpoint. He experimented with different rhythmical patterns (mensural problems) such as using two different tempo signatures (proportions), keys or rhythmically extremely complex bars with 7:5:3 proportions or other admirable ideas such as using the cantus firmus in a canon or putting the cantus firmus in every possible location in the texture.
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Rapper Lecrae, who is featured on the song was and was initially included as a plaintiff in the lawsuit, clarified to MTV that "I was in Hong Kong [when] the press release went out and it's not my song — it's my guy Flame's song and I respect everyone's intellectual properties — but that statement about the witchcraft and stuff, that's not my statement and I don't stand behind that statement." To divest himself from the lawsuit, Lecrae signed over his rights to the song to Flame, Da' T.R.U.T.H., and Ojukwu for free. In August 2018, Christina A. Snyder from the United States District Court for the Central District of California ruled against a summary judgment, arguing that the plaintiffs "demonstrated a triable issue of fact as to access because 'Joyful Noise' achieved critical success, including a Grammy nomination, and was readily available and viewed millions of times on YouTube and MySpace." She also deferred to the arguments of musicologist Todd Decker, who claimed that the songs share "five or six points of similarity"; specifically, the ostinatos in both songs are either identical or nearly so in their phrase length, rhythm, pitch content, and timbre.
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