Acting, Performing
Critics and Criticism
Language: Jargon
What a Piece of Work I Am, Chapter 52:
Norman W. Sheehan, (in a letter to Stoptime, a magazine for jazz enthusiasts)
[…] Do you recognize what happened between us? A classic call-and-response.
Center for Jazz Studies — Columbia University:
stop-time
A rhythmic device in which the accompanying instruments play a few notes of the rhythm with especially sharp accents, exaggerating the rhythm which, despite its name, does not stop. The “Charleston” rhythm is the most famous of stop-time figures.
Wikipedia, “Call and response (music)”:
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both.
See also:
Acting: Playing the Fool, Playing the King TG 153; Performing TG 674
Critics and Criticism TG 454
Language TG 11; Dialect, Slang, Idiolect, Shibboleths, Jargon TG 137, TG 659, TG 754; Slang, Insults, Terms of Abuse TG 140; Slang TG 169; Languages: Learning and Translating TG 393; Idiolect, Private Meanings and References, Code Words TG 373; Idioms: Tug the (One’s) Forelock TG 459; Technical TG 652, Academic, Gibberish TG 492; Language in Translation: Russian to English TG 495; Idioms: English: “It’s Greek to me.” TG 595; Transformations Attendant to the Assimilation of Non-English “Loan Words” in American English, e.g., From Bologna to Baloney TG 624
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