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In music, a call and response is a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first. It corresponds to the call-and-response pattern in human communication and is found as a basic element of musical form, such as verse-chorus form, in many traditions. 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. It is this tradition that African bondsmen and women brought with them to the New World and which has been transmitted over the centuries in various forms of cultural expression—in religious observance; public gatherings; sporting events; even in children's rhymes; and, most notably, in African-American music in its myriad forms and descendants including: gospel, blues, rhythm and blues, rock and roll, jazz and hip hop. Call and response patterns between two musicians are common in Indian Classical Music, particularly in the style of Jugalbandi. Call and response is likewise widely present in parts of the Americas touched by the trans-Atlantic slave trade. It is extensively used in Cuban music, both in the secular rumba〔Orovio, Helio 2004. ''Cuban music from A to Z''. Revised by Sue Steward. ISBN 0-8223-3186-1 A biographical dictionary of Cuban music, artists, composers, groups and terms. Duke University, Durham NC; Tumi, Bath. p191〕 and in the African religious ceremonies (Santería).〔Sublette, Ned 2004. ''Cuba and its music: from the first drums to the mambo''. Chicago. ISBN 1-55652-516-8〕 ==Folk music== It is common in folk traditions of choral singing of many people, especially in African musical cultures . In the West, it is most readily seen in the sea shanty, African-American work songs, military cadences, Québecois folk songs, and the dance-songs of various European countries including France (particularly Brittany) and the Faroe Islands. In Cuban music and other Latin music genres such as salsa, call and response between the lead singer and the ''coro'' (chorus) is termed coro-pregón. The form is found in the military cadence or "Jody" which is used as an a cappella work song or to keep time when marching or running in formation. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Call and response (music)」の詳細全文を読む スポンサード リンク
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