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class="vector-toc-list"> <li id="toc-Africa" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Africa"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1</span> <span>Africa</span> </div> </a> <ul id="toc-Africa-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-North_America" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#North_America"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2</span> <span>North America</span> </div> </a> <ul id="toc-North_America-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-South_America" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#South_America"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.3</span> <span>South America</span> </div> </a> <ul id="toc-South_America-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-United_Kingdom" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#United_Kingdom"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span>United Kingdom</span> </div> </a> <ul id="toc-United_Kingdom-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Classical_music" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Classical_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Classical music</span> </div> </a> <ul id="toc-Classical_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Popular_music" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Popular_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Popular music</span> </div> </a> <ul id="toc-Popular_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Leader/chorus_call_and_response" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Leader/chorus_call_and_response"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Leader/chorus call and response</span> </div> </a> <ul id="toc-Leader/chorus_call_and_response-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Question/answer_call_and_response" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Question/answer_call_and_response"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Question/answer call and response</span> </div> </a> <ul id="toc-Question/answer_call_and_response-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Call and response (music)</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 17 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-17" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">17 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Crida_i_resposta" title="Crida i resposta – Catalan" lang="ca" hreflang="ca" data-title="Crida i resposta" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Call_and_Response" title="Call and Response – German" lang="de" hreflang="de" data-title="Call and Response" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Llamada_y_respuesta_(m%C3%BAsica)" title="Llamada y respuesta (música) – Spanish" lang="es" hreflang="es" data-title="Llamada y respuesta (música)" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Voko_kaj_respondo" title="Voko kaj respondo – Esperanto" lang="eo" hreflang="eo" data-title="Voko kaj respondo" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Appel_et_r%C3%A9ponse" title="Appel et réponse – French" lang="fr" hreflang="fr" data-title="Appel et réponse" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Botta_e_risposta_(musica)" title="Botta e risposta (musica) – Italian" lang="it" hreflang="it" data-title="Botta e risposta (musica)" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A7%D7%A8%D7%99%D7%90%D7%94_%D7%95%D7%AA%D7%92%D7%95%D7%91%D7%94" title="קריאה ותגובה – Hebrew" lang="he" hreflang="he" data-title="קריאה ותגובה" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Vraag-en-antwoord" title="Vraag-en-antwoord – Dutch" lang="nl" hreflang="nl" data-title="Vraag-en-antwoord" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%B3%E3%83%BC%E3%83%AB%E3%82%A2%E3%83%B3%E3%83%89%E3%83%AC%E3%82%B9%E3%83%9D%E3%83%B3%E3%82%B9" title="コールアンドレスポンス – Japanese" lang="ja" hreflang="ja" data-title="コールアンドレスポンス" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Call_and_response" title="Call and response – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Call and response" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Rop_og_svar" title="Rop og svar – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Rop og svar" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Call_and_response" title="Call and response – Polish" lang="pl" hreflang="pl" data-title="Call and response" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Canto_responsorial" title="Canto responsorial – Portuguese" lang="pt" hreflang="pt" data-title="Canto responsorial" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A0%D0%B5%D1%81%D0%BF%D0%BE%D0%BD%D1%81%D0%BE%D1%80%D0%BD%D0%BE%D0%B5_%D0%BF%D0%B5%D0%BD%D0%B8%D0%B5" title="Респонсорное пение – Russian" lang="ru" hreflang="ru" data-title="Респонсорное пение" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Call_and_response_(music)" title="Call and response (music) – Simple English" lang="en-simple" hreflang="en-simple" data-title="Call and response (music)" 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class="vector-pinnable-header vector-appearance-pinnable-header vector-pinnable-header-pinned" data-feature-name="appearance-pinned" data-pinnable-element-id="vector-appearance" data-pinned-container-id="vector-appearance-pinned-container" data-unpinned-container-id="vector-appearance-unpinned-container" > <div class="vector-pinnable-header-label">Appearance</div> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-appearance.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-appearance.unpin">hide</button> </div> </div> </div> </nav> </div> </div> <div id="bodyContent" class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Succession of two distinct phrases usually played by different musicians (in music)</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">This article is about call and response as a musical pattern. For specific types of music, see <a href="/wiki/Antiphony" class="mw-redirect" title="Antiphony">antiphony</a>. For other uses, see <a href="/wiki/Call_and_response_(disambiguation)" class="mw-disambig" title="Call and response (disambiguation)">Call and response (disambiguation)</a>.</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">"Answer (music)" redirects here. For fugal answer, see <a href="/wiki/Fugue#The_exposition" title="Fugue">Fugue § The exposition</a>.</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Shave_and_a_Haircut_in_C.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3d/Shave_and_a_Haircut_in_C.png/220px-Shave_and_a_Haircut_in_C.png" decoding="async" width="220" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3d/Shave_and_a_Haircut_in_C.png/330px-Shave_and_a_Haircut_in_C.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3d/Shave_and_a_Haircut_in_C.png/440px-Shave_and_a_Haircut_in_C.png 2x" data-file-width="552" data-file-height="126" /></a><figcaption>Call: "<a href="/wiki/Shave_and_a_Haircut" title="Shave and a Haircut">Shave and a Haircut</a>", Response: "Two bits". <span class="noprint"><span class="ext-phonos"><span data-nosnippet="" id="ooui-php-1" class="ext-phonos-PhonosButton noexcerpt oo-ui-widget oo-ui-widget-enabled oo-ui-buttonElement oo-ui-buttonElement-frameless oo-ui-iconElement oo-ui-labelElement oo-ui-buttonWidget" data-ooui="{"_":"mw.Phonos.PhonosButton","href":"\/\/upload.wikimedia.org\/wikipedia\/commons\/transcoded\/7\/76\/Shave_and_a_Haircut_in_C.mid\/Shave_and_a_Haircut_in_C.mid.mp3","rel":["nofollow"],"framed":false,"icon":"volumeUp","label":{"html":"Play"},"data":{"ipa":"","text":"","lang":"en","wikibase":"","file":"Shave and a Haircut in C.mid"},"classes":["ext-phonos-PhonosButton","noexcerpt"]}"><a role="button" tabindex="0" href="//upload.wikimedia.org/wikipedia/commons/transcoded/7/76/Shave_and_a_Haircut_in_C.mid/Shave_and_a_Haircut_in_C.mid.mp3" rel="nofollow" aria-label="Play audio" title="Play audio" class="oo-ui-buttonElement-button"><span class="oo-ui-iconElement-icon oo-ui-icon-volumeUp"></span><span class="oo-ui-labelElement-label">Play</span><span class="oo-ui-indicatorElement-indicator oo-ui-indicatorElement-noIndicator"></span></a></span><sup class="ext-phonos-attribution noexcerpt navigation-not-searchable"><a href="/wiki/File:Shave_and_a_Haircut_in_C.mid" title="File:Shave and a Haircut in C.mid">ⓘ</a></sup></span></span>.</figcaption></figure> <p>In music, <b>call and response</b> is a compositional technique, often a succession of two distinct <a href="/wiki/Phrase_(music)" title="Phrase (music)">phrases</a> 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.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Additionally, they can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping the initial speaker(s).<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> It corresponds to the <a href="/wiki/Call_and_response" title="Call and response">call and response</a> pattern in human <a href="/wiki/Communication" title="Communication">communication</a> and is found as a basic element of <a href="/wiki/Musical_form" title="Musical form">musical form</a>, such as the <a href="/wiki/Verse-chorus_form" class="mw-redirect" title="Verse-chorus form">verse-chorus form</a>, in many traditions. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="By_region">By region</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=1" title="Edit section: By region"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Africa">Africa</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=2" title="Edit section: Africa"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <a href="/wiki/Sub-Saharan_Africa" title="Sub-Saharan Africa">Sub-Saharan African</a> cultures, call and response is a pervasive pattern of <a href="/wiki/Democracy" title="Democracy">democratic</a> participation—in public gatherings in the discussion of civic affairs, in religious <a href="/wiki/Ritual" title="Ritual">rituals</a>, as well as in vocal and instrumental <a href="/wiki/West_African_music" class="mw-redirect" title="West African music">musical</a> expression. Most of the call and response practices found in modern culture originated in Sub-Saharan Africa. <sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="North_America">North America</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=3" title="Edit section: North America"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Enslaved Africans brought call and response music with them to the colonized American continents and it has been transmitted over the centuries in various forms of cultural expression—in religious observance, public gatherings, sporting events, children's rhymes, and most notably, in <a href="/wiki/African-American_music" title="African-American music">African-American music</a> in its myriad forms and descendants. These include <a href="/wiki/Soul_music" title="Soul music">soul</a>, <a href="/wiki/Gospel_music" title="Gospel music">gospel</a>, <a href="/wiki/Blues" title="Blues">blues</a>, <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">rhythm and blues</a>, <a href="/wiki/Rock_and_roll" title="Rock and roll">rock and roll</a>, <a href="/wiki/Funk" title="Funk">funk</a>, pop, and <a href="/wiki/Hip_hop" class="mw-redirect" title="Hip hop">hip hop</a>. Hear for example the recordings entitled "Negro Folklore from Texas State Prisons" collected by <a href="/wiki/Bruce_Jackson_(scholar)" title="Bruce Jackson (scholar)">Bruce Jackson</a> on an Electra Records recording.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Call and response are widely present in parts of the Americas touched by the <a href="/wiki/Trans-Atlantic_slave_trade" class="mw-redirect" title="Trans-Atlantic slave trade">trans-Atlantic slave trade</a>. The tradition of call and response fosters dialogue and its legacy continues today, as it is an important component of oral traditions. Both <a href="/wiki/African-American_women_work_songs" title="African-American women work songs">African-American women work songs</a>, African American work songs, and the <a href="/wiki/Work_song" title="Work song">work song</a>, in general, use the call-and-response format often. It can also be found in the <a href="/wiki/Afro-Caribbean_music" title="Afro-Caribbean music">music</a> of the <a href="/wiki/Afro-Caribbean_people" title="Afro-Caribbean people">Afro-Caribbean</a> populations of <a href="/wiki/Afro-Jamaicans" title="Afro-Jamaicans">Jamaica</a>, <a href="/wiki/Afro%E2%80%93Trinidadians_and_Tobagonians" title="Afro–Trinidadians and Tobagonians">Trinidad & Tobago</a>, <a href="/wiki/Afro-Bahamians" title="Afro-Bahamians">Bahamas</a>, <a href="/wiki/Afro-Barbadians" title="Afro-Barbadians">Barbados</a>, <a href="/wiki/Belizean_Creole_people" title="Belizean Creole people">Belize</a>, and many nations of the diaspora, especially Brazil. </p><p>Call and response is extensively used in <a href="/wiki/Cuban_music" class="mw-redirect" title="Cuban music">Cuban music</a>, where it is known as <i><a href="/wiki/Coro-preg%C3%B3n" title="Coro-pregón">coro-pregón</a></i>. It derives from African musical elements, both in the secular <a href="/wiki/Cuban_rumba" title="Cuban rumba">rumba</a><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> and in African religious ceremonies (<a href="/wiki/Santer%C3%ADa" title="Santería">Santería</a>).<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="South_America">South America</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=4" title="Edit section: South America"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>When enslaved African populations were brought to work in coastal agricultural areas of Peru during colonial times, they brought along their musical traditions. In Peru, those traditions mixed with Spanish popular music of the nineteenth century, as well as the indigenous music of Peru, eventually growing into what is commonly known as Afro-Peruvian music. Known as “huachihualo“, and characterized by competitive call-and-response verses, it is the defining trademark of various musical styles in Afro-Peruvian musical culture such as marinera, festejo, landó, tondero, zamacueca, and contrapunto de zapateo<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>In Colombia, the dance and musical form of <i>cumbia</i> originated with the enslaved African population of the coastal region of the country in the late 17th century. The style developed in Colombia from the intermingling of three cultures. From Africa, the drum percussion, foot movements and call-and-response. Its melodies and use of the gaita or caña de millo (cane flute) represents the Native Colombian influence, and the dress represents the Spanish influence.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="United_Kingdom">United Kingdom</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=5" title="Edit section: United Kingdom"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1644, <a href="/wiki/Lining_out" title="Lining out">lining out</a> – where one person sang a solo (a precentor) and others followed – is outlined by the <a href="/wiki/Westminster_Assembly" title="Westminster Assembly">Westminster Assembly</a> for psalm singing in English churches.<sup id="cite_ref-Shepherd_10-0" class="reference"><a href="#cite_note-Shepherd-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> It has influenced popular music singing styles.<sup id="cite_ref-Shepherd_10-1" class="reference"><a href="#cite_note-Shepherd-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Presentinge line was characterized a slow, drawn-out <a href="/wiki/Heterophony" title="Heterophony">heterophonic</a> and often profusely ornamented melody, while a clerk or precentor (song leader) chanted the text line by line before it was sung by the congregation. Scottish Gaelic psalm-singing by prepresentinge line was the earliest form of congregational singing adopted by Africans in America.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>Call and response is also a common structure of songs and carols originating in the Middle Ages, for example "All in the Morning" and "Down in yon Forest", both traditional Derbyshire carols.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Classical_music">Classical music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=6" title="Edit section: Classical music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> In Western <a href="/wiki/Classical_music" title="Classical music">classical music</a>, call and response is known as <a href="/wiki/Antiphon" title="Antiphon">antiphony</a>. The <i>New Grove Dictionary</i> defines antiphony as "music in which an ensemble is divided into distinct groups, used in opposition, often spatial, and using contrasts of volume, pitch, timbre, etc."<sup id="cite_ref-Music_2001_13-0" class="reference"><a href="#cite_note-Music_2001-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Early examples can be found in the music of <a href="/wiki/Giovanni_Gabrieli" title="Giovanni Gabrieli">Giovanni Gabrieli</a>, one of the renowned practitioners of the <a href="/wiki/Venetian_polychoral_style" title="Venetian polychoral style">Venetian polychoral style</a>:</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Giovanni_Gabrieli_in_Ecclesiis.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Giovanni_Gabrieli_in_Ecclesiis.png/500px-Giovanni_Gabrieli_in_Ecclesiis.png" decoding="async" width="500" height="531" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Giovanni_Gabrieli_in_Ecclesiis.png/750px-Giovanni_Gabrieli_in_Ecclesiis.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Giovanni_Gabrieli_in_Ecclesiis.png/1000px-Giovanni_Gabrieli_in_Ecclesiis.png 2x" data-file-width="1984" data-file-height="2108" /></a><figcaption>Giovanni Gabrieli in Ecclesiis. <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=v5VoKAoj8AE&t=7m24s">Listen</a></figcaption></figure><p> Gabrieli also contributed many instrumental canzonas, composed for contrasting groups of players: </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="22" data-mwtitle="Gabrieli_Canzon_Septimi_Toni_02.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Gabrieli_Canzon_Septimi_Toni_02.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/1/1a/Gabrieli_Canzon_Septimi_Toni_02.wav/Gabrieli_Canzon_Septimi_Toni_02.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/1/1a/Gabrieli_Canzon_Septimi_Toni_02.wav/Gabrieli_Canzon_Septimi_Toni_02.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/1/1a/Gabrieli_Canzon_Septimi_Toni_02.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Gabrieli Canzon Septimi Toni</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Gabrieli_Canzon_Septimi_Toni_01.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Gabrieli_Canzon_Septimi_Toni_01.png/500px-Gabrieli_Canzon_Septimi_Toni_01.png" decoding="async" width="500" height="486" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Gabrieli_Canzon_Septimi_Toni_01.png/750px-Gabrieli_Canzon_Septimi_Toni_01.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Gabrieli_Canzon_Septimi_Toni_01.png/1000px-Gabrieli_Canzon_Septimi_Toni_01.png 2x" data-file-width="2451" data-file-height="2382" /></a><figcaption>Gabrieli Canzon Septimi Toni</figcaption></figure> <p><a href="/wiki/Heinrich_Sch%C3%BCtz" title="Heinrich Schütz">Heinrich Schütz</a> was one of the first composers to realise the expressive potential of the polychoral style in his "Little Sacred Concertos". The best known of these works is "Saul, Saul, was verfolgst du mich?", a vivid setting of the narrative of the <a href="/wiki/Conversion_of_Paul" class="mw-redirect" title="Conversion of Paul">Conversion of Paul</a> as told in Acts 9 verses 3-4: "And as he journeyed, he came near Damascus: and suddenly there shined round about him a light from heaven. And he fell to the earth, and heard a voice saying unto him, Saul, Saul, why persecutest thou me?" </p><p> "The musical phrase on which most of the concerto is built is sounded immediately by a pair of basses":<sup id="cite_ref-Taruskin,_R._2005,_p.69_14-0" class="reference"><a href="#cite_note-Taruskin,_R._2005,_p.69-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Schutz,_Saul_bars_1-2.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Schutz%2C_Saul_bars_1-2.png/600px-Schutz%2C_Saul_bars_1-2.png" decoding="async" width="600" height="61" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Schutz%2C_Saul_bars_1-2.png/900px-Schutz%2C_Saul_bars_1-2.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Schutz%2C_Saul_bars_1-2.png/1200px-Schutz%2C_Saul_bars_1-2.png 2x" data-file-width="2028" data-file-height="207" /></a><figcaption>Schutz, Saul Saul.</figcaption></figure><p> This idea is "then taken up by the alto and tenor, then by the sopranos, and finally by the pair of violins as transition to the explosive tutti":<sup id="cite_ref-Taruskin,_R._2005,_p.69_14-1" class="reference"><a href="#cite_note-Taruskin,_R._2005,_p.69-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Schutz,_Saul.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Schutz%2C_Saul.png/600px-Schutz%2C_Saul.png" decoding="async" width="600" height="248" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Schutz%2C_Saul.png/900px-Schutz%2C_Saul.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Schutz%2C_Saul.png/1200px-Schutz%2C_Saul.png 2x" data-file-width="2133" data-file-height="882" /></a><figcaption>Schutz, Saul, entry of two choirs. <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=npFUYTrzaK4">Listen</a></figcaption></figure> <p>"The syncopated repetitions of the name Saul are strategically planted so that, when the whole ensemble takes them up, they can be augmented into <a href="/wiki/Hocket" title="Hocket">hockets</a> resounding back and forth between the choirs, adding to the impression of an enveloping space And achieving in sound something like the effect of the surrounding light described by the Apostle."<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>In the following century, <a href="/wiki/J.S._Bach" class="mw-redirect" title="J.S. Bach">J.S. Bach</a> featured antiphonal exchanges in his <a href="/wiki/St_Matthew_Passion" title="St Matthew Passion">St Matthew Passion</a> and the <a href="/wiki/Motet" title="Motet">motets</a>. In his motet <a href="/wiki/Komm,_Jesu,_komm,_BWV_229" title="Komm, Jesu, komm, BWV 229"><i>Komm, Jesu, komm</i></a>, Bach uses eight voices deployed as two antiphonal choirs. According to <a href="/wiki/John_Eliot_Gardiner" title="John Eliot Gardiner">John Eliot Gardiner</a>, in this "intimate and touching" work, Bach “goes many steps beyond the manipulation of spatially separate blocks of sound” and “finds ways of weaving all eight lines into a rich contrapuntal tapestry.”<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="16" data-mwtitle="Bach,_Komm,_Jesu_komm_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Bach,_Komm,_Jesu_komm_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/0/04/Bach%2C_Komm%2C_Jesu_komm_01.wav/Bach%2C_Komm%2C_Jesu_komm_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/0/04/Bach%2C_Komm%2C_Jesu_komm_01.wav/Bach%2C_Komm%2C_Jesu_komm_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/0/04/Bach%2C_Komm%2C_Jesu_komm_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Bach, Komm, Jesu komm</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Bach,_Komm,_Jesu_komm.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Bach%2C_Komm%2C_Jesu_komm.png/600px-Bach%2C_Komm%2C_Jesu_komm.png" decoding="async" width="600" height="239" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Bach%2C_Komm%2C_Jesu_komm.png/900px-Bach%2C_Komm%2C_Jesu_komm.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/01/Bach%2C_Komm%2C_Jesu_komm.png/1200px-Bach%2C_Komm%2C_Jesu_komm.png 2x" data-file-width="1941" data-file-height="774" /></a><figcaption>Bach, Komm, Jesu, komm</figcaption></figure><p> The development of the classical orchestra in the late eighteenth and early nineteenth centuries exploited the dramatic potential of antiphonal exchanges between groups of instruments. An example can be found in the <a href="/wiki/Development_section" class="mw-redirect" title="Development section">development section</a> of the finale of <a href="/wiki/Mozart" class="mw-redirect" title="Mozart">Mozart</a>’s <a href="/wiki/Symphony_No._41_(Mozart)" title="Symphony No. 41 (Mozart)">Symphony No. 41</a>:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="18" data-mwtitle="Mozart_Jupiter_Finale_development.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Mozart_Jupiter_Finale_development.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/d2/Mozart_Jupiter_Finale_development.wav/Mozart_Jupiter_Finale_development.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/d2/Mozart_Jupiter_Finale_development.wav/Mozart_Jupiter_Finale_development.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/d/d2/Mozart_Jupiter_Finale_development.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Mozart, Symphony 41, finale, bars 190-199</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Mozart_Jupiter_Finale_development.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/08/Mozart_Jupiter_Finale_development.png/500px-Mozart_Jupiter_Finale_development.png" decoding="async" width="500" height="654" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/08/Mozart_Jupiter_Finale_development.png/750px-Mozart_Jupiter_Finale_development.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/08/Mozart_Jupiter_Finale_development.png/1000px-Mozart_Jupiter_Finale_development.png 2x" data-file-width="1985" data-file-height="2598" /></a><figcaption>Mozart Jupiter Finale development</figcaption></figure> <p>Even terser are the exchanges between wind and strings in the first movement of <a href="/wiki/Symphony_No._5_(Beethoven)" title="Symphony No. 5 (Beethoven)">Beethoven's 5th Symphony</a>. Here, the development culminates in a "singularly dramatic passage"<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> consisting of a "strange sequence of block harmonies":<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_3" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Beethoven_5_first_movement_development_(original).wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Beethoven_5_first_movement_development_(original).wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/4/4d/Beethoven_5_first_movement_development_%28original%29.wav/Beethoven_5_first_movement_development_%28original%29.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/4/4d/Beethoven_5_first_movement_development_%28original%29.wav/Beethoven_5_first_movement_development_%28original%29.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/4/4d/Beethoven_5_first_movement_development_%28original%29.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Beethoven 5 first movement development</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Beethoven_5_first_movement_development.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Beethoven_5_first_movement_development.png/500px-Beethoven_5_first_movement_development.png" decoding="async" width="500" height="345" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Beethoven_5_first_movement_development.png/750px-Beethoven_5_first_movement_development.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/46/Beethoven_5_first_movement_development.png/1000px-Beethoven_5_first_movement_development.png 2x" data-file-width="2017" data-file-height="1392" /></a><figcaption>Beethoven 5 first movement development</figcaption></figure> <p>Twentieth century works that feature antiphonal exchanges include the <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=m129k5YcQnU&t=7m03s">second movement</a> of <a href="/wiki/B%C3%A9la_Bart%C3%B3k" title="Béla Bartók">Béla Bartók</a>'s <a href="/wiki/Music_for_Strings,_Percussion_and_Celesta" title="Music for Strings, Percussion and Celesta"><i>Music for Strings Percussion and Celesta</i></a> (1936) and <a href="/wiki/Michael_Tippett" title="Michael Tippett">Michael Tippett</a>’s <a href="/wiki/Concerto_for_Double_String_Orchestra_(Tippett)" title="Concerto for Double String Orchestra (Tippett)"><i>Concerto for Double String Orchestra</i></a> <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=T9hBY2G4wes">(1938)</a>. One spectacular example from the 1950s is <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a>'s <i><a href="/wiki/Gruppen" title="Gruppen">Gruppen</a></i> for Three Orchestras (1955–1957), which culminates in a "synchronized build-up of brass 'points' in the three orchestras ... leading to a climax of chord exchanges from orchestra to orchestra".<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> When heard live, this piece creates a genuine sensation of music moving in <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=34_SfP7ZCXA&t=15m30s">space</a>. "The combination of the three orchestras leads to great climaxes: long percussion solos, concertante trumpet solos, powerful brass sections, alternating and interpenetrating."<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Popular_music">Popular music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=7" title="Edit section: Popular music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Call and response is common in modern Western <a href="/wiki/Popular_music" title="Popular music">popular music</a>. Cross-over <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">rhythm and blues</a>, <a href="/wiki/Rock_%27n%27_roll" class="mw-redirect" title="Rock 'n' roll">rock 'n' roll</a> and <a href="/wiki/Rock_music" title="Rock music">rock music</a> exhibit call-and-response characteristics, as well. <a href="/wiki/The_Who" title="The Who">The Who</a>'s song "<a href="/wiki/My_Generation" title="My Generation">My Generation</a>" is an example:<sup id="cite_ref-Middleton_21-0" class="reference"><a href="#cite_note-Middleton-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:My_Generation_vocal_melody_with_response.PNG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/9/9c/My_Generation_vocal_melody_with_response.PNG/400px-My_Generation_vocal_melody_with_response.PNG" decoding="async" width="400" height="135" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/9/9c/My_Generation_vocal_melody_with_response.PNG 1.5x" data-file-width="527" data-file-height="178" /></a><figcaption>"My Generation" vocal melody with response.<sup id="cite_ref-Middleton_21-1" class="reference"><a href="#cite_note-Middleton-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> <span class="noprint"><span class="ext-phonos"><span data-nosnippet="" id="ooui-php-2" class="ext-phonos-PhonosButton noexcerpt oo-ui-widget oo-ui-widget-enabled oo-ui-buttonElement oo-ui-buttonElement-frameless oo-ui-iconElement oo-ui-labelElement oo-ui-buttonWidget" data-ooui="{"_":"mw.Phonos.PhonosButton","href":"\/\/upload.wikimedia.org\/wikipedia\/en\/transcoded\/3\/33\/My_Generation_vocal_melody_with_response.mid\/My_Generation_vocal_melody_with_response.mid.mp3","rel":["nofollow"],"framed":false,"icon":"volumeUp","label":{"html":"Play"},"data":{"ipa":"","text":"","lang":"en","wikibase":"","file":"My Generation vocal melody with response.mid"},"classes":["ext-phonos-PhonosButton","noexcerpt"]}"><a role="button" tabindex="0" href="//upload.wikimedia.org/wikipedia/en/transcoded/3/33/My_Generation_vocal_melody_with_response.mid/My_Generation_vocal_melody_with_response.mid.mp3" rel="nofollow" aria-label="Play audio" title="Play audio" class="oo-ui-buttonElement-button"><span class="oo-ui-iconElement-icon oo-ui-icon-volumeUp"></span><span class="oo-ui-labelElement-label">Play</span><span class="oo-ui-indicatorElement-indicator oo-ui-indicatorElement-noIndicator"></span></a></span><sup class="ext-phonos-attribution noexcerpt navigation-not-searchable"><a href="/wiki/File:My_Generation_vocal_melody_with_response.mid" title="File:My Generation vocal melody with response.mid">ⓘ</a></sup></span></span></figcaption></figure> <div class="mw-heading mw-heading2"><h2 id="Leader/chorus_call_and_response"><span id="Leader.2Fchorus_call_and_response"></span>Leader/chorus call and response</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=8" title="Edit section: Leader/chorus call and response"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A single leader makes a musical statement, and then the chorus responds together. American bluesman <a href="/wiki/Muddy_Waters" title="Muddy Waters">Muddy Waters</a> utilizes call and response in one of his signature songs, "<a href="/wiki/Mannish_Boy" title="Mannish Boy">Mannish Boy</a>" which is almost entirely leader/chorus call and response. </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><div class="poem"> <p>CALL: Waters' vocal: "Now when I was a young boy"<br /> RESPONSE: (Harmonica/rhythm section riff)<br /> CALL: Waters': "At the age of 5"<br /> RESPONSE: (Harmonica/rhythm section riff) </p> </div></blockquote> <p>Another example is from Chuck Berry's "<a href="/wiki/School_Day_(Ring_Ring_Goes_the_Bell)" class="mw-redirect" title="School Day (Ring Ring Goes the Bell)">School Day (Ring Ring Goes the Bell)</a>". </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><div class="poem"> <p>CALL: Drop the coin right into the slot.<br /> RESPONSE: (Guitar riff)<br /> CALL: You gotta get something that's really hot.<br /> RESPONSE: (Guitar riff) </p> </div></blockquote> <p>A contemporary example is from <a href="/wiki/Carly_Rae_Jepsen" title="Carly Rae Jepsen">Carly Rae Jepsen</a>'s "<a href="/wiki/Call_Me_Maybe" title="Call Me Maybe">Call Me Maybe</a>". </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><div class="poem"> <p>CALL: Hey, I just met you<br /> RESPONSE: (Violins)<br /> CALL: And this is crazy<br /> RESPONSE: (Violins) </p> </div></blockquote> <p>This technique is utilized in Jepsen's song several times. While mostly in the chorus, it can also be heard in the breakdown (approximately 2:25) between the vocals ("It's hard to look right") and distorted guitar. </p> <div class="mw-heading mw-heading2"><h2 id="Question/answer_call_and_response"><span id="Question.2Fanswer_call_and_response"></span>Question/answer call and response</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=9" title="Edit section: Question/answer call and response"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Part of the band poses a musical "question", or a phrase that feels unfinished, and another part of the band "answers" (finishes) it. In the blues, the B section often has a question-and-answer pattern (dominant-to-tonic). </p><p>An example of this is the 1960 Christmas song "<a href="/wiki/Must_Be_Santa_(song)" title="Must Be Santa (song)">Must Be Santa</a>": </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><div class="poem"> <p>CALL: Who laughs this way, ho ho ho?<br /> RESPONSE: Santa laughs this way, ho ho ho! </p> </div></blockquote> <p>A similar question-and-answer exchange occurs in the 1942 film <i><a href="/wiki/Casablanca_(film)" title="Casablanca (film)">Casablanca</a></i> between Sam (<a href="/wiki/Dooley_Wilson" title="Dooley Wilson">Dooley Wilson</a>) and the band in the song "<a href="/wiki/Knock_on_Wood_(1942_song)" title="Knock on Wood (1942 song)">Knock On Wood</a>": </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><div class="poem"> <p>CALL: Who's got trouble?<br /> RESPONSE: We've got trouble!<br /> CALL: How much trouble?<br /> RESPONSE: Too much trouble! </p> </div></blockquote> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=10" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/African-American_women_work_songs" title="African-American women work songs">African-American women work songs</a></li> <li><a href="/wiki/Antiphon" title="Antiphon">Antiphon</a></li> <li><a href="/wiki/Countersubject" class="mw-redirect" title="Countersubject">Countersubject</a></li> <li><a href="/wiki/Military_cadence" title="Military cadence">Military cadence</a></li> <li><a href="/wiki/Responsory" title="Responsory">Responsory</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=11" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.iskme.org/index.php?q=our-ideas/call-and-response-sound-collaboration#:~:text=In%20music,%20call%20and%20response,sound%20that">"Call and Response - The Sound of Collaboration | Institute for the Study of Knowledge Management in Education"</a>. <i>www.iskme.org</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231031204114/https://www.iskme.org/index.php?q=our-ideas/call-and-response-sound-collaboration#:~:text=In%20music,%20call%20and%20response,sound%20that">Archived</a> from the original on Oct 31, 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">2023-10-31</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.iskme.org&rft.atitle=Call+and+Response+-+The+Sound+of+Collaboration+%7C+Institute+for+the+Study+of+Knowledge+Management+in+Education&rft_id=https%3A%2F%2Fwww.iskme.org%2Findex.php%3Fq%3Dour-ideas%2Fcall-and-response-sound-collaboration%23%3A~%3Atext%3DIn%2520music%2C%2520call%2520and%2520response%2Csound%2520that&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACall+and+response+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.masterclass.com/articles/what-is-call-and-response-in-music">"What is Call and Response in Music?"</a>. <i>MasterClass</i>. August 26, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=MasterClass&rft.atitle=What+is+Call+and+Response+in+Music%3F&rft.date=2021-08-26&rft_id=https%3A%2F%2Fwww.masterclass.com%2Farticles%2Fwhat-is-call-and-response-in-music&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACall+and+response+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Courlander, Harold, <i>A Treasury of Afro-American Folklore: The Oral Literature, Traditions, Recollections, Legends, Tales, Songs, Religious Beliefs, Customs, Sayings and Humor of People of African Descent in the Americas</i>. 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Retrieved <span class="nowrap">14 March</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Music.si.edu&rft.atitle=Afro-Peruvian+Music+and+Dance&rft.date=2015-07-29&rft_id=https%3A%2F%2Fmusic.si.edu%2Fstory%2Fafro-peruvian-music-and-dance&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACall+and+response+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.colombia.co/en/colombia-culture/dance/everything-need-know-cumbia/">"Everything you need to know about Cumbia"</a>. <i>Colombia.co</i>. 27 July 2015. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240127163403/https://www.colombia.co/en/downloads/music-downloads/everything-need-know-cumbia/">Archived</a> from the original on Jan 27, 2024<span class="reference-accessdate">. Retrieved <span class="nowrap">14 March</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Colombia.co&rft.atitle=Everything+you+need+to+know+about+Cumbia&rft.date=2015-07-27&rft_id=https%3A%2F%2Fwww.colombia.co%2Fen%2Fcolombia-culture%2Fdance%2Feverything-need-know-cumbia%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ACall+and+response+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20111203083323/http://www.discovercolombia.com/cumbia-the-rhythm-of-colombia/">"Cumbia | The Rhythm of Colombia"</a>. <i>discovercolombia.com</i>. 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(2005, p. 69) <i>The Oxford History of Western Music; the Seventeenth and Eighteenth Centuries</i>. Oxford University Press.</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Taruskin, R. (2005, p. 68-69) <i>The Oxford History of Western Music; the Seventeenth and Eighteenth Centuries</i>. Oxford University Press.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Gardiner, J. E. (2013, p.470) Music in the Castle of Heaven: a Portrait of Johan Sebastian Bach. London, Allen Lane.</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Grove, G. (1898, p.153) <i>Beethoven and his Nine Symphonies</i>. London, Constable.</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Hopkins, A. (1981, p.137) <i>The Nine Symphonies of Beethoven</i>. London, Heinemann.</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Maconie, R. (1976, p. 111) <i>The Works of Stockhausen</i>. London, Marion Boyars.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Worner, K. H. (1973). <i>Stockhausen: Life and Work</i>. London, Faber. p.163</span> </li> <li id="cite_note-Middleton-21"><span class="mw-cite-backlink">^ <a href="#cite_ref-Middleton_21-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Middleton_21-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="/wiki/Richard_Middleton_(musicologist)" title="Richard Middleton (musicologist)">Middleton, Richard</a> (1990). <i><a rel="nofollow" class="external text" href="https://books.google.com/books?id=tS7lAAAAQBAJ&pg=PA49">Studying Popular Music</a></i>. Milton Keynes, UK: Open University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-335-15275-9" title="Special:BookSources/0-335-15275-9">0-335-15275-9</a>. p. 49.</span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Call_and_response_(music)&action=edit&section=12" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20081010154112/http://how-to-play-blues-guitar.com/blues-concepts/call-and-response/">Call and Response in Blues</a>—with references to blues songs and historical evolution.</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20040321030004/http://bostoncommunitychoir.org/history_of_gospel_music.htm">History of Gospel Music</a>—with references to call and response in black gospel music</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20170422102718/http://uncloudydays.com/">Gospel Music History</a>—Gospel Music Encyclopedia citing the origins of the different types of call and response and different gospel music style</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl 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