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The tradition of call and response fosters dialogue and its legacy continues today, as it is an important component of oral traditions. Both African-American women work songs, African American work songs, and the work song, in general, use the call-and-response format often.
Call and response is a form of interaction between a speaker and an audience in which the speaker's statements ("calls") are punctuated by responses from the listeners. [1] This form is also used in music, where it falls under the general category of antiphony .
call and response. A way of writing a song in which after a singer sings a line, other singers (e.g. backup singers or band members) respond with a line that completes the thought. Call and response singing was originally part of African-American work songs, and it subsequently became an important part of the blues.
Lining out or hymn lining, called precenting the line in Scotland, is a form of a cappella hymn-singing or hymnody in which a leader, often called the clerk or precentor, gives each line of a hymn tune as it is to be sung, usually in a chanted form giving or suggesting the tune.
A military cadence or cadence call is a call-and-response work song sung by military personnel while running or marching. They are counterparts of the military march . Military cadences often take their rhythms from the work being done, much like the sea shanty .
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The call and response format showcases the ways in which work songs foster dialogue. The importance of dialogue is illuminated in many African-American traditions and continues on to the present day. [12] Particular to the African call and response tradition is the overlapping of the call and response. [13]
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