Musical tastes are diverse, and the SILC syllabus embraces a wide range of genres and influences. SILC playlists will always stay in the smooth and down tempo region of 90-115 bpm however with such a versatile dance curriculum, expect to be challenged with a full range of aural experiences.
R&B, standing for 'Rhythm and Blues' is an umbrella term which encompasses a wide spectrum of songs and artists. The term has been used since the 1940's, and has been used to define Blues music, Rock'n'Roll, Jazz, Gospel and Soul.
In the SILC room, Contemporary R&B relates to a more popular and commercial genre characterised by clear percussive rhythms and sharp, polished production. Theme and lyrical content is predominantly concerned with love, relationships or sex, therefore breeding a dance culture of suggestive and evocative movement.
From Erykah Badu, Aaliyah and Lauren Hill to Jason Derulo, Jamie Woon, Ne-Yo and Usher
Originating from the States in the early 1950s, Soul fused celebratory African-American gospel music with the recurring beat and bass line of Rhythm and Blues, bringing a traditional and social genre of music into the commercial market. Notable household record label Motown pioneered a more popular Soul culture during the '60s and '70s.
Contemporary Soul differs aurally to its traditional origins, however songs are thematically similar. Vocalists are characterised by passionate projection and sensitive tone, and lyrics tell emotionally rich tales of enthusiastic rejoice, heart-felt melancholy or agonising loss.
From Etta James, Ray Charles and Ben E King to Sam Smith, Paolo Nutini, Anthony Hamilton and Amy Winehouse.
Referring to the natural sounding as opposed to electronic instruments used in the composition, acoustic accompaniment is especially suited to slow tempo and low key music. Especially in the last decade, many artists have found fame solely through developing slower, acoustic covers of well known, up-tempo classics.
Acoustic covers are now popular enough to form their own distinct genre. With recognisable lyrics, the listener enjoys the nostalgia of the original track and the original artist, however the acoustic transformation offers a contemporary feel and a new dimension to the rhythm and instrumentation.
From Jack Johnson, Newton Faulkner, Jose Gonzales and Ben Howard to Sam Tsui, Boyce Avenue, Jasmine Thompson and Tyler Ward
House music is defined by synthesised bass lines, minimalism with regards to lyrical or melodic content and repetition of key phrases which ties this musical style to popular and commercial dance establishments.
Slo-House, a term coined by the SILC developers, pays homage to the more chilled and ambient house industry popularised by such brands as Cafe Del Mar and Ministry of Sound Chillout. Tracks you can expect to hear feature electronic and synthesised instrumentation, but stay true to the slow tempo of the SILC catalogue and create a euphoric and emotive atmosphere.
From Groove Armada, Chicane, Massive Attack and Radiohead to Kygo, Disclosure, Purity Ring and Banks
An enormous genre of music that once again spans decades and different cultural roots. Blues music concerns a certain rhythmical structure (referred to as the AAB structure) whereby the score, and often the lyrics, are repeated once and then developed in any bar of music. Quite satisfying for dancers in particular is a recurring and sometimes predictable break or freeze at the end of musical phrases.
Thematic and lyrical content of Blues music is traditionally stories or anecdotes of heartache, loss or woe, lending itself to the melancholy scores and melodies. More recently Blues music concerns itself more with relationships, sex and provocation, heavily influencing the proximity and suggestiveness associated with Blues dancing.
From Buddy Guy, Etta James, Mo Rodgers and The Beautiful South to Keb Mo, Caro Emerald, Imelda May and Vintage Trouble
Lyrical is a term strongly associated with dance, but rarely music. It was originally devised to describe Contemporary and expressive solo dance compositions that were choreographed specifically to the emotive lyrical content of a specific song. The dancer would favour character and emotional expression over rigid form or technical precision.
Now pertaining to music as well as dance, Lyrical is concerned with ambient and melodic sound scores with profound emotional or personal imagery within the vocal content. Lyrical music inspires a personal response when dancers perform, and the movement is purposeful and stylised rather than perfunctory.
From Coldplay, Sam Smith, Indiana and Tracy Chapman to Betty Who, Yuna, Banks and Shura
The origins of Folk music are embedded in word of the 'spoken mouth'; essentially lyrics and melodies that have been shared through custom and tradition as opposed to classical or commercial purposes. Because of this, the sound and meaning behind Folk tracks depend wholly on the social, cultural and geographical origins of the artist and composer.
Contemporary Folk music, despite being created with commercial and popular intentions, adheres to the nostalgia of traditional Folk values. Instruments are acoustic rather than electric, vocals are understated rather than virtuosic, and lyrics and meaning are concerned with personal and intimate emotions and situations.
From Johnny Cash, Tracy Chapman, Eva Cassidy and Bob Dylan to Jose Gonzales, Keb'Mo, The XX and Ed Sheeran
Born in the mid 1960s, Funk de-emphasised the melodic and vocal prominence of Soul and Jazz, replacing the focus with a strong rhythmic beat and electric instrumentation. Funk tracks generally appear quite repetitive as there is very little harmonic progression in the score. Instead diverse rhythms of electric bass, electric guitar, drums, snare and often brass interlock to create complex and innovative rhythmical structures.
To this day, tracks within the Funk genre rely very little on melody or fluid transition. Instruments are struck, plucked or 'popped' creating sharp and plosive sounds. Accompanying dance styles reflected this instrumentation giving birth to the staccato and striking gestures of disco, and more recently, the popping and locking aesthetic of Hip Hop.
From James Brown, Chic, Stevie Wonder and Prince to Tensnake, Robin Thicke and Tweet
The generic term for all music originating in (or taking influence from) rhythms, instrumentation and artists from Latin America, in particular Spanish and Portuguese speaking territories. It encapsulates such musical genres as Salsa, Reggaeton, Tango, Bachata, Bossa Nova, Merengue and the broader contemporary style of Latin pop.
In Latin America, music and dance are inseparable, and Latin Music is often composed with careful consideration of the dance steps that will accompany the song. The style of tracks can be broad and diverse. Some common characteristics can be found in the percussive instrumentation of claves, bongos, timbales, djembes and acoustic guitars. The rhythms created through this use of percussion suggest to the dancer the chasse, triple or mambo steps (for example) that should be executed.
The Latin influence in the SILC room is predominantly concerned with Tango, Reggaeton and Bossa Nova; the slower-tempo Latin compositions.
From Carlos Santana, Zucherro and Pink Martini to Caro Emerald, Gotan Project and Jazmine Sullivan
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