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In Sub-Saharan African cultures, call and response is a pervasive pattern of democratic participation—in public gatherings in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression. Most of the call and response practices found in modern culture originated in Sub-Saharan Africa. [3]
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 .
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 .
In military terminology, a countersign is a sign, word, or any other signal previously agreed upon and required to be exchanged between a picket or guard and anybody approaching his or her post.
Madonna -- rocking a giant pink cowboy hat and racy western-themed bustier - asked the audience, before directing the call-and-response Madonna Playfully Calls Out Andy Cohen During Brooklyn Show ...
This call-and-response performance style is the most common form of spiritual. [ 13 ] The simple, repetitive nature of the song, along with the fact that it was commonly performed without instrumental accompaniment, meant that spontaneous shifts in tempo, pitch, and emphasis were commonly made, leading the song in new and exciting directions ...
Particular to the African call and response tradition is the overlapping of the call and response. [3] The leader's part might overlap with the response, thus creating a unique collaborative sound. Similarly, African-American folk and traditional music focuses on polyphony, rather than a melody with a harmony. [3]
Coro-pregón (or coro-guía, coro-inspiración) in Afro-Cuban music and other Afro-Latin Latin music (mainly from the Puerto Rico), most of all salsa, but also in some non-Cuban genres like merengue and bachata, refers to a call and response section between the lead singer and the coro (chorus).