Travelogue

Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. In the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. Bram De Cock

Travelogue

Travelogue

Travelogue

Travelogue

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                  Travelogue presents a selection of traditional folk music from around the world, recorded and documented by field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Azerbaijan, China, Thailand, Uganda, Burundi and Brazil.\r\n
                  \r\n
                  Anthology of world music. The music of Azerbaijan (cd, Rounder, 2003)\r\n
                  \r\n
                  The music of Azerbaijan is modal and mainly homophonic and belongs to the musical culture of the Middle East. An essential musical form is the 'mugam' (as in Arabic: maqam): compositions and variations in a specific mode but also referring to the whole vocal-instrumental form itself, performed by khanande (singer of art music) and sazande: ensembles of players of tar (lute), kamanje (spike-fiddle) and daf (or gaval, a frame drum with jingling metal rings). Also included here: a stray song from the ashug tradition (wandering folk performers) and a folk dance song reminiscent of the Turkish davul-zurna duets. Other typical instruments are: tutek (whistle), balaman or duduk (double reed wind instrument), zurna (double reed), saz (long necked lute), tulum (bagpipe) and nagara (double-headed drum).\r\n
                  \r\n
                  Recordings by Radio Baku, 1971. A reissue on cd by Rounder as part of a series of 50 albums, originally issued as The Unesco Collection on Bärenreiter Verlag/Musicaphon and edited by the International Institute for Traditional Music in Berlin (by Alain Daniélou & Ivan Vandor), between 1968 and 1987. \r\n
                  \r\n
                  - Abil Aliyev: Beste Nigar (kamanje solo)\r\n
                  - Amrah Gyalma: Jalili (song of an shug, vocal and saz)\r\n
                  - Bahruz Zeinalov: Roza (popular dance, duduk and nagara)\r\n
                  - V/A: Keroylu (a heroic dance, zurna and nagara)\r\n
                  \r\n
                  Ethnic Minority Music Of Northwest Xinjiang, China (cd, Sublime Frequencies, 2016)\r\n
                  \r\n
                  Music from four different ethnic minorities of Xinjiang ('new frontier in Chinese') or Eastern Turkestan, the largest Chinese province and a territory of ethnic conflict (between Han newcomers and Muslim minorities). The featured songs here are performed on the dongbra (a Kazakh two-stringed lute), the tambur (an Uyghur five metal double stringed lute), the komuz (a Kyrgyz three-stringed fretless instrument) and topchar (Mongol two nylon stringed instrument).\r\n
                  Recorded by Laurent Janneau & Shi Tanding, 2009\r\n
                  \r\n
                  - Pa Hat: Margul (Uyghur)\r\n
                  - Ashimunur Kurmanjiang: The Mountain's Pine Trees (Kazakh)\r\n
                  - Zhong Ga: Four Different Bai Boor Den (Mongol)\r\n
                  - Xia Ar Ghen Aokhan: Atamake (Kyrgyz)\r\n
                  - Kurmanjiang Zaccharia: Babulao (Kazakh)\r\n
                  \r\n
                  Thailande. La musique des Môns (cd, Playa Sound, 1988)\r\n
                  \r\n
                  The Môns are one of the oldest cultures of the Indo-Chinese peninsula, since prehistoric times. In Buddha's time their states overlapped actual Myanmar, Thailand and Cambodia. Their music is a synthesis of Burmese instruments and Thai structures and scales. The percussion orchestra's typically have xylophones, metallophones, drums, gongs and oboes. The music is mainly performed on special events, magical or religious ceremonies in monasteries.\r\n
                  Recorded by Hubert de Fraysseix, 1976.\r\n
                  \r\n
                  - V/A: Mawn Yardie, Musique De Cremation\r\n
                  - V/A: HUM Rong Krathai TEN, Musique D'offrande\r\n
                  - V/A: Nguew RA Ruheng, Musique De Combat\r\n
                  \r\n
                  Royal court music from Uganda - 1950 & 1952 (cd, Sharp Wood Productions, 1998) \r\n
                  \r\n
                  In 1966 the post-colonial Ugandan governement brutally fell on the royal courts of the Ganda, Nyoro and Ankole peoples, as the old African kings were seen as rivals for power. The musicians were killed or dispersed, the royal instruments destroyed. The royal music was fortunately documented before this tragedy and can be heard on this disc with recordings made by the legendary South-African field recordist Hugh Tracey, who had made two Ugandan field trips in the early 1950s. The royal bands consisted of members of one clan who specialised in a relevant instrument, like amadinda and akadinda xylophones, the ennanga 8-string harp, the endongo 8 string bowl lyre, the endingidi 1 string fiddle, the entenga conical laced drum, amakondere gourd & cow horns and endere flutes.\r\n
                  \r\n
                  Recorded by Hugh Tracey, 1950 & 1952. Selected from the archives of the International Library of African Music.\r\n
                  \r\n
                  - Bomera & Tibuhoire: Kitwekize kya winyi (Nyoro)\r\n
                  - Temusewo Mukasa: Okwagala omlulungi kwesengereza (Ganda)\r\n
                  - Evalisto Muyinda: Sewaswa kazalabalongo (Ganda)\r\n
                  - Zakaria Kasasa: Akasozi bamunanika (Ganda)\r\n
                  - Bulasio Araya & The Abanyabyata Royal Horn Band: Rwankanembe (Nyoro)\r\n
                  - Ssaza Cheif Kago & Danieri Seruwaniko: Bwemba nkwagala nkugamba (Ganda)\r\n
                  - Ntamivu za Kabaka: Katego (Ganda)\r\n
                  - Ludovico Mugerwa: Mulamu namala ampita erinya (Ganda)\r\n
                  - Yohana Nyakayonga & The Ntimbo Royal Drummers: Ntimbo (Nyoro)\r\n
                  - Abalere ba Kabaka: Asenga omwami tagayala (Ganda)\r\n
                  - Kihuka & The Ntajemerwa Royal Drummers: Ntajemerwa (Nyoro)\r\n
                  \r\n
                  Musiques du Burundi (cd, Fonti Musicali, 1997)\r\n
                  \r\n
                  The ngoma (drum) music of Burundi has been extensively studied and released but this cd focusses mainly on other instruments like the inanga (a 6-7 stringed trough zither), accompanying whispered songs, that traditionally praise the king and the cattle; the umuduri (musical bow), accompanying songs about daily life; the indingidi (a one-stringed fiddle) and the ikembe (a lamellaphone also known in other African countries as sanza, mbira, likembe or kalimba). Different instruments are also combined in an orchestral ensemble, which is a recent trend in the development of traditional music in Burundi. \r\n
                  Recorded by Frank Michiels, 1990. Coproduced by the Royal Museum of Central-Africa, Tervuren, Belgium.\r\n
                  \r\n
                  - Pierre Ntibarangerageza: Horere dawe (Ikembe)\r\n
                  - Augustin Ndabagumije: Akadegedege (Indingidi)\r\n
                  - Jean Nzigiye: Kugira inama (Indingidi)\r\n
                  - Mathias Mujiriro: Helena wanje (Umuduri)\r\n
                  - Francis Bitagoye: Ari hehe (Inanga)\r\n
                  - Joseph Torobeka: Raba izo ntama (Inanga)\r\n
                  - Mathias Mujiriro: Abantu barakuza amajambo (Orchestre)\r\n
                  \r\n
                  L.H. Corrêa de Azevedo: Music Of Ceará and Minas Gerais (cd, Rykodisc, 1997)\r\n
                  \r\n
                  Aside from the war-time cooperation between the US and Brazil in the early 1940s, the Archive of American Folk-Song at the Library of Congress in Washington supported Brazilian musicologists to record and document Brazilian folk music, by loaning recording equipment and providing technical and methodological know-how. From the four field expeditions that L.H Corrêa de Azevedo made in central and northern Brazil, fthis cd presents the music of the states of Ceará and Minas Gerais. Determined to document the "other" Brazil, he looked for Brazil's indigenous, African and ultimately mixed folk music genres, like côco, xangô, congo, maracatú, rojão a.o.\r\n
                  Recordings by Luiz Heitor Corrêa de Azevedo, 1943 & 1944. Part of The Endangered Music Project, a series of 6 cd's that's part of 'The World', a larger series of 25 albums curated by Grateful Dead percussionist Mickey Hart in collaboration with Smithsonian Folkways Recordings.\r\n
                  \r\n
                  - V/A: Secando a Água (Canto dos mineiradores)\r\n
                  - The Almeida family: Diamantina (Valsa)\r\n
                  - V/A: Coco dos Mateiros (Coco Com Viola)\r\n
                  - V/A: A Paia da Cana Avôa\r\n
                  - João Lourenço: A Mangueira\r\n
                  - Grupo de Luiz Pereira da Silva: Canções dos Congos\r\n
                  - Grupo Az de Ouro: Canções do Maracatú\r\n
                  - Raimundo Alves Feitosa: Xangô, Xangô
                  """
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              #original: array:7 [
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                "locale" => "en"
                "title" => "Travelogue"
                "slug" => "travelogue-4"
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                "text" => """
                  Travelogue presents a selection of traditional folk music from around the world, recorded and documented by field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Azerbaijan, China, Thailand, Uganda, Burundi and Brazil.\r\n
                  \r\n
                  Anthology of world music. The music of Azerbaijan (cd, Rounder, 2003)\r\n
                  \r\n
                  The music of Azerbaijan is modal and mainly homophonic and belongs to the musical culture of the Middle East. An essential musical form is the 'mugam' (as in Arabic: maqam): compositions and variations in a specific mode but also referring to the whole vocal-instrumental form itself, performed by khanande (singer of art music) and sazande: ensembles of players of tar (lute), kamanje (spike-fiddle) and daf (or gaval, a frame drum with jingling metal rings). Also included here: a stray song from the ashug tradition (wandering folk performers) and a folk dance song reminiscent of the Turkish davul-zurna duets. Other typical instruments are: tutek (whistle), balaman or duduk (double reed wind instrument), zurna (double reed), saz (long necked lute), tulum (bagpipe) and nagara (double-headed drum).\r\n
                  \r\n
                  Recordings by Radio Baku, 1971. A reissue on cd by Rounder as part of a series of 50 albums, originally issued as The Unesco Collection on Bärenreiter Verlag/Musicaphon and edited by the International Institute for Traditional Music in Berlin (by Alain Daniélou & Ivan Vandor), between 1968 and 1987. \r\n
                  \r\n
                  - Abil Aliyev: Beste Nigar (kamanje solo)\r\n
                  - Amrah Gyalma: Jalili (song of an shug, vocal and saz)\r\n
                  - Bahruz Zeinalov: Roza (popular dance, duduk and nagara)\r\n
                  - V/A: Keroylu (a heroic dance, zurna and nagara)\r\n
                  \r\n
                  Ethnic Minority Music Of Northwest Xinjiang, China (cd, Sublime Frequencies, 2016)\r\n
                  \r\n
                  Music from four different ethnic minorities of Xinjiang ('new frontier in Chinese') or Eastern Turkestan, the largest Chinese province and a territory of ethnic conflict (between Han newcomers and Muslim minorities). The featured songs here are performed on the dongbra (a Kazakh two-stringed lute), the tambur (an Uyghur five metal double stringed lute), the komuz (a Kyrgyz three-stringed fretless instrument) and topchar (Mongol two nylon stringed instrument).\r\n
                  Recorded by Laurent Janneau & Shi Tanding, 2009\r\n
                  \r\n
                  - Pa Hat: Margul (Uyghur)\r\n
                  - Ashimunur Kurmanjiang: The Mountain's Pine Trees (Kazakh)\r\n
                  - Zhong Ga: Four Different Bai Boor Den (Mongol)\r\n
                  - Xia Ar Ghen Aokhan: Atamake (Kyrgyz)\r\n
                  - Kurmanjiang Zaccharia: Babulao (Kazakh)\r\n
                  \r\n
                  Thailande. La musique des Môns (cd, Playa Sound, 1988)\r\n
                  \r\n
                  The Môns are one of the oldest cultures of the Indo-Chinese peninsula, since prehistoric times. In Buddha's time their states overlapped actual Myanmar, Thailand and Cambodia. Their music is a synthesis of Burmese instruments and Thai structures and scales. The percussion orchestra's typically have xylophones, metallophones, drums, gongs and oboes. The music is mainly performed on special events, magical or religious ceremonies in monasteries.\r\n
                  Recorded by Hubert de Fraysseix, 1976.\r\n
                  \r\n
                  - V/A: Mawn Yardie, Musique De Cremation\r\n
                  - V/A: HUM Rong Krathai TEN, Musique D'offrande\r\n
                  - V/A: Nguew RA Ruheng, Musique De Combat\r\n
                  \r\n
                  Royal court music from Uganda - 1950 & 1952 (cd, Sharp Wood Productions, 1998) \r\n
                  \r\n
                  In 1966 the post-colonial Ugandan governement brutally fell on the royal courts of the Ganda, Nyoro and Ankole peoples, as the old African kings were seen as rivals for power. The musicians were killed or dispersed, the royal instruments destroyed. The royal music was fortunately documented before this tragedy and can be heard on this disc with recordings made by the legendary South-African field recordist Hugh Tracey, who had made two Ugandan field trips in the early 1950s. The royal bands consisted of members of one clan who specialised in a relevant instrument, like amadinda and akadinda xylophones, the ennanga 8-string harp, the endongo 8 string bowl lyre, the endingidi 1 string fiddle, the entenga conical laced drum, amakondere gourd & cow horns and endere flutes.\r\n
                  \r\n
                  Recorded by Hugh Tracey, 1950 & 1952. Selected from the archives of the International Library of African Music.\r\n
                  \r\n
                  - Bomera & Tibuhoire: Kitwekize kya winyi (Nyoro)\r\n
                  - Temusewo Mukasa: Okwagala omlulungi kwesengereza (Ganda)\r\n
                  - Evalisto Muyinda: Sewaswa kazalabalongo (Ganda)\r\n
                  - Zakaria Kasasa: Akasozi bamunanika (Ganda)\r\n
                  - Bulasio Araya & The Abanyabyata Royal Horn Band: Rwankanembe (Nyoro)\r\n
                  - Ssaza Cheif Kago & Danieri Seruwaniko: Bwemba nkwagala nkugamba (Ganda)\r\n
                  - Ntamivu za Kabaka: Katego (Ganda)\r\n
                  - Ludovico Mugerwa: Mulamu namala ampita erinya (Ganda)\r\n
                  - Yohana Nyakayonga & The Ntimbo Royal Drummers: Ntimbo (Nyoro)\r\n
                  - Abalere ba Kabaka: Asenga omwami tagayala (Ganda)\r\n
                  - Kihuka & The Ntajemerwa Royal Drummers: Ntajemerwa (Nyoro)\r\n
                  \r\n
                  Musiques du Burundi (cd, Fonti Musicali, 1997)\r\n
                  \r\n
                  The ngoma (drum) music of Burundi has been extensively studied and released but this cd focusses mainly on other instruments like the inanga (a 6-7 stringed trough zither), accompanying whispered songs, that traditionally praise the king and the cattle; the umuduri (musical bow), accompanying songs about daily life; the indingidi (a one-stringed fiddle) and the ikembe (a lamellaphone also known in other African countries as sanza, mbira, likembe or kalimba). Different instruments are also combined in an orchestral ensemble, which is a recent trend in the development of traditional music in Burundi. \r\n
                  Recorded by Frank Michiels, 1990. Coproduced by the Royal Museum of Central-Africa, Tervuren, Belgium.\r\n
                  \r\n
                  - Pierre Ntibarangerageza: Horere dawe (Ikembe)\r\n
                  - Augustin Ndabagumije: Akadegedege (Indingidi)\r\n
                  - Jean Nzigiye: Kugira inama (Indingidi)\r\n
                  - Mathias Mujiriro: Helena wanje (Umuduri)\r\n
                  - Francis Bitagoye: Ari hehe (Inanga)\r\n
                  - Joseph Torobeka: Raba izo ntama (Inanga)\r\n
                  - Mathias Mujiriro: Abantu barakuza amajambo (Orchestre)\r\n
                  \r\n
                  L.H. Corrêa de Azevedo: Music Of Ceará and Minas Gerais (cd, Rykodisc, 1997)\r\n
                  \r\n
                  Aside from the war-time cooperation between the US and Brazil in the early 1940s, the Archive of American Folk-Song at the Library of Congress in Washington supported Brazilian musicologists to record and document Brazilian folk music, by loaning recording equipment and providing technical and methodological know-how. From the four field expeditions that L.H Corrêa de Azevedo made in central and northern Brazil, fthis cd presents the music of the states of Ceará and Minas Gerais. Determined to document the "other" Brazil, he looked for Brazil's indigenous, African and ultimately mixed folk music genres, like côco, xangô, congo, maracatú, rojão a.o.\r\n
                  Recordings by Luiz Heitor Corrêa de Azevedo, 1943 & 1944. Part of The Endangered Music Project, a series of 6 cd's that's part of 'The World', a larger series of 25 albums curated by Grateful Dead percussionist Mickey Hart in collaboration with Smithsonian Folkways Recordings.\r\n
                  \r\n
                  - V/A: Secando a Água (Canto dos mineiradores)\r\n
                  - The Almeida family: Diamantina (Valsa)\r\n
                  - V/A: Coco dos Mateiros (Coco Com Viola)\r\n
                  - V/A: A Paia da Cana Avôa\r\n
                  - João Lourenço: A Mangueira\r\n
                  - Grupo de Luiz Pereira da Silva: Canções dos Congos\r\n
                  - Grupo Az de Ouro: Canções do Maracatú\r\n
                  - Raimundo Alves Feitosa: Xangô, Xangô
                  """
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                "locale" => "en"
                "title" => "Travelogue"
                "slug" => "travelogue-3"
                "intro" => null
                "text" => """
                  Travelogue presents a selection of traditional folk music from around the world, recorded and documented by field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Mongolia, New Guinea, Yemen, Togo, Cameroon, Portugal and Mexico.\r\n
                  \r\n
                  > Tserendavaa & Tsogtgerel: Chants Diphoniques de l'Altaï Mongol/Xöömij overtone singing from Mongolia (cd, Buda Records, 2008) \r\n
                  \r\n
                  Tserendavaa (°1954) and his son Tsogtgerel (°1990) are virtuous exponents of Western-Mongolian overtone singing (xöömij), the technique of overlaying two sounds with one's own voice, basically singing a drone in a normal voice onto which a second harmonic voice is layered, one or more octaves below or above the fundamental tone. The songs are sung either accapella or accompanied by the two-string fiddles moriin xuur and ekel, or the two stringed tovshuur lute.\r\n
                  Recorded by Johanni Curtet, 2007\r\n
                  \r\n
                  * Mongol gerin magtaal\r\n
                  * Xumun torlogton\r\n
                  * Baltchin xerin yavdal\r\n
                  * Dörvön xöömijnii töröl\r\n
                  * Airxinii shog\r\n
                  * Xoer Altai nutag\r\n
                  \r\n
                  > Sacred flute music from New Guinea: Madang/Windim Mambu (2cd, Editions Mego, 2016)\r\n
                  \r\n
                  In Papua New Guinea, only adult men are allowed to make, own and blow flutes and in specific ritual contexts, meant to invoke the presence of the spirits. Flute blowing happens on different occasions, for male initiations, intervillage feasts, sago harvests, births, marriages and deaths. The play is generally accompanied with percussion: with garamuts (wooden slit gongs, used to send out messages over long distances), kundus (hand drums) or shell rattles. These bamboo flutes are always made and played in pairs, the longer flute being the male and the shorter flute, the female.\r\n
                  Recorded by Ragnar Johnson & Jessica Mayer in 1976. Originally released as two separate vinyl albums in 1977 and 1979 on Quartz Publications. Re-released on two separate cds in 1999 on Rounder Records. Songs taken from a new double CD release on Editions Mego.\r\n
                  \r\n
                  * Windim Mambu: Mo-Mo\r\n
                  * Windim Mambu: Rumu\r\n
                  * Sacred Flute: Mo-Mo\r\n
                  \r\n
                  > Yémen: musiques du coeur de l'Arabie. (cd, Buda Records, 2002)\r\n
                  \r\n
                  A cross-section of folk music as heard in the city of Sanaa and around the country. Featured instruments are the Sanaa-'ûd, the most ancient lute in the Arab world, the semsemiya and tambura lyres (amongst the oldest instruments in Yemen), the ney flute, violin, qanun zither and different types of cylindric, frame and kettle drums. Sounds from the mafraj, a music salon where men meet in the afternoon to enjoy sung and instrumental music and the exhilarating effects of chewing qât-leaves. \r\n
                  Recorded by Jean-Christophe Girard, 1999\r\n
                  \r\n
                  * Hassan Aoni al-'Ajami (Chant et 'ud de Sanaa - Sanaa)\r\n
                  * Mohamed al-Kouek (lyre tambura - Zabid)\r\n
                  * Orchestre De Pecheurs (Al-khawkhah)\r\n
                  * Kamilia Anbar Yakout (Chant Solo) et Son Orchestra (Lahej)\r\n
                  \r\n
                  > Togo. Music from West-Africa (cd, Rounder, 1992)\r\n
                  \r\n
                  An exceptionally diversified compilation of traditional Togolese music. Praise songs to traditional rulers; a couple of songs by Houwenema, the famous griot of Pagouda, plucking his single stringed lute; funeral songs by a female group; proverbial songs adressing quarrelsome women and songs about the nightly devourers of the soul...\r\n
                  Recorded by Dan Kahn and Bill Nowlin, 1977. Originally released on vinyl in 1978.\r\n
                  \r\n
                  * Akofa Akoussah: Mitoe Ne Ayehawo\r\n
                  * Houwenema: Kasa Bu\r\n
                  * Ali Bawa: Ki Man Wo\r\n
                  * Les Femmes Pleureuses De Klo Mayondi: Drodope\r\n
                  * Flutistes Kotokoli: Instrumental\r\n
                  \r\n
                  > Cameroun. Flûtes des Monts Mandara. (cd, Ocora, 1996)\r\n
                  \r\n
                  Ritual and profane music from the animist peoples of the mountains and the plains of Cameroon's Northernmost Province, including the Mofou, Mofou-Goudour, Mouyang and Ouldémé. In the Mandara mountains, the musical instruments used depend on the agrarian cycle, e.g. the growing of millet or the feast of the bull. In the plains, music accompanies different stages in an individual's life or in that of the group: the birth of twins, initiation, hunting, war, mourning, entertainment. Aerophones predominate, especially flutes from bamboo, reed, wood, bark, horn, clay or shell.\r\n
                  Recorded by Nathalie Fernando & Fabrice Marandola, 1994-96.\r\n
                  \r\n
                  * Ouldémé du village de Dibon: Chèk I Massakal [Monts Mandara]\r\n
                  * Ouldémé du village de Dibon: Mebaga Andjégué [Monts Mandara]\r\n
                  * Ouldémé du village de Dibon: Zavan [Monts Mandara]\r\n
                  * Ouldémé du village de Dibon: Chèk I Vendelar [Monts Mandara]\r\n
                  * Mofou du village de Zob: Walay Douroum [Monts Mandara]\r\n
                  \r\n
                  > Portugal. Trás-os-Montes. Chants du blé et cornemuses de berger. (cd, Ocora, 1993)\r\n
                  \r\n
                  Songs about the cultivation of cereals (called romances) and sheep rearing (with the shepherd's bagpipe) from Portugal's isolated, poor, rural Northeastern province Trás-os-Montes. Apart from accompanying the threshing of wheat, shelling the almonds, husking the maize, grinding the flour, lulling the babies or as a distracting watching the flocks, the singing of romances divides the days of mowing into time sequences: a different romance is sung at each of as many as seven times a day. Apart from the flute, the bagpipe (gaita de foles, made of a goatskin bag, two independent pipes and a long drone-pipe) is the only melodic instrument, probably a distant relic of Portugal's Celtic culture.\r\n
                  Recorded by Anne Caufriez, 1978. Reissue on cd of the vinyl LP from 1980.\r\n
                  \r\n
                  * Maria Helena Ventura: Roro\r\n
                  * Augustinho Garido Brazo: Fandango\r\n
                  * Virgílio Augusto Cristal: O Redondo\r\n
                  * Adélia Garcia: A Fonte Do Salgueirinho\r\n
                  * Paulinho Pereira João: Jota\r\n
                  * Paulinho Pereira João, Alfredo Falcão, & Paulinho José Raposo Oliveira: Fandango\r\n
                  * Virgílio Augusto Cristal: Alvorada\r\n
                  \r\n
                  > Bats'i Son. The music of the highlands of Chiapas, Mexico. (cd, Latitude, 2004)\r\n
                  \r\n
                  Digitally restored, edited and remastered versions of recordings by the American sound engineer Richard Alderson, who had worked before for free jazzers like Albert Ayler and Ornette Coleman and Bob Dylan and Harry Belafonte. Anderson lived for five years in San Cristobal, Chiapas, Mexico where he started to record the local music traditions of various ethnic groups like the Chamula, Zinacantecos, Tzeltal, Ch'ol... Between constant exploding fireworks, you can hear music drawing from prehispanic traditions based on flute & drum play and Spanish colonial music based on guitar, violin, maracas, harp and trumpets. Music to celebrate carnival, the powers of the jaguar, the birth of Christ and other Catholic feasts and rituals.\r\n
                  Recordings: Richard Alderson, 1971-74, originally issued on two Folkways vinyl records.\r\n
                  \r\n
                  * Flute And Drums-Tenango (Tzeltal)\r\n
                  * Carnival - Chalchihuitán (Tzotzil)\r\n
                  * Navidad-Mitontik (Tzotzil)\r\n
                  * Fiesta De San Bartolo-Venustiano Carranza (Tzotzil)\r\n
                  * Navidad-Mitontik - Bolom Chon (Jaguar Song) (Tzotzil)\r\n
                  * Son De Carnival-Majosik\r\n
                  * Fiesta De Santa Lucia (Ch'ol)\r\n
                  * Danza De Mujeres-Tenejapa
                  """
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                "text" => """
                  Travelogue presents a selection of traditional folk music from around the world, recorded and documented by field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Mongolia, New Guinea, Yemen, Togo, Cameroon, Portugal and Mexico.\r\n
                  \r\n
                  > Tserendavaa & Tsogtgerel: Chants Diphoniques de l'Altaï Mongol/Xöömij overtone singing from Mongolia (cd, Buda Records, 2008) \r\n
                  \r\n
                  Tserendavaa (°1954) and his son Tsogtgerel (°1990) are virtuous exponents of Western-Mongolian overtone singing (xöömij), the technique of overlaying two sounds with one's own voice, basically singing a drone in a normal voice onto which a second harmonic voice is layered, one or more octaves below or above the fundamental tone. The songs are sung either accapella or accompanied by the two-string fiddles moriin xuur and ekel, or the two stringed tovshuur lute.\r\n
                  Recorded by Johanni Curtet, 2007\r\n
                  \r\n
                  * Mongol gerin magtaal\r\n
                  * Xumun torlogton\r\n
                  * Baltchin xerin yavdal\r\n
                  * Dörvön xöömijnii töröl\r\n
                  * Airxinii shog\r\n
                  * Xoer Altai nutag\r\n
                  \r\n
                  > Sacred flute music from New Guinea: Madang/Windim Mambu (2cd, Editions Mego, 2016)\r\n
                  \r\n
                  In Papua New Guinea, only adult men are allowed to make, own and blow flutes and in specific ritual contexts, meant to invoke the presence of the spirits. Flute blowing happens on different occasions, for male initiations, intervillage feasts, sago harvests, births, marriages and deaths. The play is generally accompanied with percussion: with garamuts (wooden slit gongs, used to send out messages over long distances), kundus (hand drums) or shell rattles. These bamboo flutes are always made and played in pairs, the longer flute being the male and the shorter flute, the female.\r\n
                  Recorded by Ragnar Johnson & Jessica Mayer in 1976. Originally released as two separate vinyl albums in 1977 and 1979 on Quartz Publications. Re-released on two separate cds in 1999 on Rounder Records. Songs taken from a new double CD release on Editions Mego.\r\n
                  \r\n
                  * Windim Mambu: Mo-Mo\r\n
                  * Windim Mambu: Rumu\r\n
                  * Sacred Flute: Mo-Mo\r\n
                  \r\n
                  > Yémen: musiques du coeur de l'Arabie. (cd, Buda Records, 2002)\r\n
                  \r\n
                  A cross-section of folk music as heard in the city of Sanaa and around the country. Featured instruments are the Sanaa-'ûd, the most ancient lute in the Arab world, the semsemiya and tambura lyres (amongst the oldest instruments in Yemen), the ney flute, violin, qanun zither and different types of cylindric, frame and kettle drums. Sounds from the mafraj, a music salon where men meet in the afternoon to enjoy sung and instrumental music and the exhilarating effects of chewing qât-leaves. \r\n
                  Recorded by Jean-Christophe Girard, 1999\r\n
                  \r\n
                  * Hassan Aoni al-'Ajami (Chant et 'ud de Sanaa - Sanaa)\r\n
                  * Mohamed al-Kouek (lyre tambura - Zabid)\r\n
                  * Orchestre De Pecheurs (Al-khawkhah)\r\n
                  * Kamilia Anbar Yakout (Chant Solo) et Son Orchestra (Lahej)\r\n
                  \r\n
                  > Togo. Music from West-Africa (cd, Rounder, 1992)\r\n
                  \r\n
                  An exceptionally diversified compilation of traditional Togolese music. Praise songs to traditional rulers; a couple of songs by Houwenema, the famous griot of Pagouda, plucking his single stringed lute; funeral songs by a female group; proverbial songs adressing quarrelsome women and songs about the nightly devourers of the soul...\r\n
                  Recorded by Dan Kahn and Bill Nowlin, 1977. Originally released on vinyl in 1978.\r\n
                  \r\n
                  * Akofa Akoussah: Mitoe Ne Ayehawo\r\n
                  * Houwenema: Kasa Bu\r\n
                  * Ali Bawa: Ki Man Wo\r\n
                  * Les Femmes Pleureuses De Klo Mayondi: Drodope\r\n
                  * Flutistes Kotokoli: Instrumental\r\n
                  \r\n
                  > Cameroun. Flûtes des Monts Mandara. (cd, Ocora, 1996)\r\n
                  \r\n
                  Ritual and profane music from the animist peoples of the mountains and the plains of Cameroon's Northernmost Province, including the Mofou, Mofou-Goudour, Mouyang and Ouldémé. In the Mandara mountains, the musical instruments used depend on the agrarian cycle, e.g. the growing of millet or the feast of the bull. In the plains, music accompanies different stages in an individual's life or in that of the group: the birth of twins, initiation, hunting, war, mourning, entertainment. Aerophones predominate, especially flutes from bamboo, reed, wood, bark, horn, clay or shell.\r\n
                  Recorded by Nathalie Fernando & Fabrice Marandola, 1994-96.\r\n
                  \r\n
                  * Ouldémé du village de Dibon: Chèk I Massakal [Monts Mandara]\r\n
                  * Ouldémé du village de Dibon: Mebaga Andjégué [Monts Mandara]\r\n
                  * Ouldémé du village de Dibon: Zavan [Monts Mandara]\r\n
                  * Ouldémé du village de Dibon: Chèk I Vendelar [Monts Mandara]\r\n
                  * Mofou du village de Zob: Walay Douroum [Monts Mandara]\r\n
                  \r\n
                  > Portugal. Trás-os-Montes. Chants du blé et cornemuses de berger. (cd, Ocora, 1993)\r\n
                  \r\n
                  Songs about the cultivation of cereals (called romances) and sheep rearing (with the shepherd's bagpipe) from Portugal's isolated, poor, rural Northeastern province Trás-os-Montes. Apart from accompanying the threshing of wheat, shelling the almonds, husking the maize, grinding the flour, lulling the babies or as a distracting watching the flocks, the singing of romances divides the days of mowing into time sequences: a different romance is sung at each of as many as seven times a day. Apart from the flute, the bagpipe (gaita de foles, made of a goatskin bag, two independent pipes and a long drone-pipe) is the only melodic instrument, probably a distant relic of Portugal's Celtic culture.\r\n
                  Recorded by Anne Caufriez, 1978. Reissue on cd of the vinyl LP from 1980.\r\n
                  \r\n
                  * Maria Helena Ventura: Roro\r\n
                  * Augustinho Garido Brazo: Fandango\r\n
                  * Virgílio Augusto Cristal: O Redondo\r\n
                  * Adélia Garcia: A Fonte Do Salgueirinho\r\n
                  * Paulinho Pereira João: Jota\r\n
                  * Paulinho Pereira João, Alfredo Falcão, & Paulinho José Raposo Oliveira: Fandango\r\n
                  * Virgílio Augusto Cristal: Alvorada\r\n
                  \r\n
                  > Bats'i Son. The music of the highlands of Chiapas, Mexico. (cd, Latitude, 2004)\r\n
                  \r\n
                  Digitally restored, edited and remastered versions of recordings by the American sound engineer Richard Alderson, who had worked before for free jazzers like Albert Ayler and Ornette Coleman and Bob Dylan and Harry Belafonte. Anderson lived for five years in San Cristobal, Chiapas, Mexico where he started to record the local music traditions of various ethnic groups like the Chamula, Zinacantecos, Tzeltal, Ch'ol... Between constant exploding fireworks, you can hear music drawing from prehispanic traditions based on flute & drum play and Spanish colonial music based on guitar, violin, maracas, harp and trumpets. Music to celebrate carnival, the powers of the jaguar, the birth of Christ and other Catholic feasts and rituals.\r\n
                  Recordings: Richard Alderson, 1971-74, originally issued on two Folkways vinyl records.\r\n
                  \r\n
                  * Flute And Drums-Tenango (Tzeltal)\r\n
                  * Carnival - Chalchihuitán (Tzotzil)\r\n
                  * Navidad-Mitontik (Tzotzil)\r\n
                  * Fiesta De San Bartolo-Venustiano Carranza (Tzotzil)\r\n
                  * Navidad-Mitontik - Bolom Chon (Jaguar Song) (Tzotzil)\r\n
                  * Son De Carnival-Majosik\r\n
                  * Fiesta De Santa Lucia (Ch'ol)\r\n
                  * Danza De Mujeres-Tenejapa
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                "locale" => "en"
                "title" => "Travelogue"
                "slug" => "travelogue-2"
                "intro" => null
                "text" => """
                  Travelogue pays tribute to global traditional folk music, focussing on the work of field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Vietnam, Gabon, French Guiana, Jordan, Iran, Italy and Haïti.\r\n
                  \r\n
                  Viêtnam: anthologie de la musique êdê (cd, Buda Musique, 2000)\r\n
                  A collection of songs of the Êdê people from the Dak Lak plateau in Vietnam. Each instrumental or vocal form is meant to accompany one ritual or another, following the calendar of seasonal works or occasional events (the first rain, the new rice harvest, the new year, building a house, funerals...).\r\n
                  \r\n
                  Recorded by Patrick Bersalé, 1997-98.\r\n
                  - Ama Nuên: Cithare sur calebasse (Bro')\r\n
                  - Y-Yoi Hwing: Guimbarde\r\n
                  - Yă H'Riu: Aê Rêi\r\n
                  - Yă H'Phũt: Souffler Les Tuyaux En Chantant Le Aê Rêi\r\n
                  - Yă H'Riu: Sangloter\r\n
                  - Ama Nuên, Ama Wơn & Ama H'Nga: Polyrithmie de bambous percutés (Cing Kram)\r\n
                  - Peuple Êdê: Ensemble de gongs - Salutation aux invités\r\n
                  \r\n
                  Gabon. Musiques des pygmées Bibayak/chantres de l'épopée (cd, Ocora, 1989)\r\n
                  Vocal polyphonies of the Bibayak pygmies of Gabon, who call themselves Baka Bambuké. The music erupts in a broken vocalizing of pure sounds, a technique known as 'yodeling', mostly reserved for women (while men are assigned to percussion and dance). These polyphonies can hold up to 8 voices, entering successively, adjusting to one another in canons and imitations.\r\n
                  \r\n
                  Recorded by Pierre Sallée, 1966 & 1973.\r\n
                  - baka bambuké:: séquences polyphoniques: a) 5 voix et tambour b) et c) choeur et percussions\r\n
                  - baka bambuké: séquences polyphoniques: suite\r\n
                  - baka bambuké: mebasi - jeu vocal (a,b)\r\n
                  \r\n
                  Wayāpi de Guyane. Un visage sonore d'Amazonie (cd, Le chant du monde, 1998)\r\n
                  The Wayãpi, totalling around 1000 people, live in the Amazon rainforests of northeastern Brasil\r\n
                  and southern French Guiana. Their repetitive music is inseparable from the natural\r\n
                  environment, reaffirming the pleasure of living, celebrating fish, birds, maize, dragonflies,\r\n
                  manioc beer... Apart from different types of panpipes and the sounds of rubbed turtle-shells, the\r\n
                  low, rough sounds of the 'tule', large unisono clarinets made of reeds and bamboo tubes,\r\n
                  without finger-holes, are remarkable here.\r\n
                  \r\n
                  Recordings: Jean-Michel Beaudet, 1977, 1978, 1979, 1981, 1995\r\n
                  - Forêt, le matin\r\n
                  - So' okānge - Solo de flûte en os à encoche\r\n
                  - Kasili - "La Bière de Manioc" (Flûte de Pan et Carapace de Tortue frottée)\r\n
                  - Répertoire Tulekalanā - "Ton village mon amour !"\r\n
                  - Tasia - répertoire Pilatule "La danse des poissons"\r\n
                  - Répertoire Moyotule - "Le Toucan"\r\n
                  \r\n
                  Inedit: Jordanie. Chants bédoins, Chants de mariage, Chants des pêcheurs d'Aqaba (cd,\r\n
                  Maison des cultures du monde, 1998)\r\n
                  Singing is considered the most genuine expression of Jordanian life; the instruments generally\r\n
                  play a secondary role, and those which are used imitate the sound of the human voice. Popular\r\n
                  instruments are the one stringed bowed lute (rebâb), the flute (nây), the ten stringed lyre\r\n
                  (simsimiya) and hand clapping (sahja) or feet stamping (dabkeh).\r\n
                  \r\n
                  Recorded by Pierre Bois, 1997\r\n
                  - Jamal Khleif: Dahiya, samer (Chant Bédouin)\r\n
                  - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Ya Shajirat Al-tufah (Chant de\r\n
                  Mariage)\r\n
                  - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Men Al-sabah L-al-'asr (Chant\r\n
                  de Mariage)\r\n
                  - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: 'Alhajr Barra (Chant de Mariage)\r\n
                  - Sufian Jaser Eid, Ayman Bashir al-Yamani, Muhammad'Abed Al Salhîn, Isma'il Mahmud\r\n
                  Abu'Awali, Eid Abbas Muhammad Kayyal: Mawwal, Ughniya (Chant de Pêcheur)\r\n
                  \r\n
                  Iran: Bardes du Khorassan - Chants et luth dotâr (cd, Ocora, 1998)\r\n
                  Khorassan is Iran's extreme north-eastern province, highly ethnically diverse, with Persians,\r\n
                  Turks and Kurds being the most important peoples. Bakhshi or bards are story-tellers,\r\n
                  custodians of epic chant and legends who accompany themselves on hand-made two-stringed,\r\n
                  long-necked lutes, the dotâr. They're trained to pass on a repertoire of songs of an amorous,\r\n
                  didactic, religious or patriotic nature, that comes from oral tradition, sung in Turkish, Persian or\r\n
                  Kurdish.\r\n
                  \r\n
                  Recorded by Ameneh Youssefzadeh, 1997\r\n
                  - Mohammad Yegâne: Jân nesâr\r\n
                  - Hâj Qorbân Soleymâni: Jabbâr\r\n
                  - Golnabât Atâ'i: Sakine\r\n
                  - Isâ Qolipur: Oldurme\r\n
                  \r\n
                  Italian Treasury: Puglia - The Salento (cd, Rounder, 2002)\r\n
                  From a series of 11 well researched cds with outstanding recordings made by the famous\r\n
                  American ethnomusicologist Alan Lomax of the folk music traditions of Italy in the 1950s, this\r\n
                  compilation focusses on the Salento, the southeastern-most tip of Italy's heel in the province of\r\n
                  dry, rural Apulia. Songs about harvesting, threshing wheat, love and 'tarantismo', a form of\r\n
                  musical therapy practiced by peasant women to cure the bite of the venomous tarantula-spider.\r\n
                  \r\n
                  Recorded by Alan Lomax & Diego Carpitella, 1954\r\n
                  - Martano: A dove vai bella fanciulla?\r\n
                  - Galatone: Lu Lazzaru\r\n
                  - Martano: Stornelli\r\n
                  - Gallipoli: Sutt'acqua e sutta iento navigamu\r\n
                  - Galatone: E malidettu lu Cinquanta\r\n
                  - Galatone: Pizzica\r\n
                  - Galatone: Ninnarella\r\n
                  \r\n
                  Haïti: Les 101 Nations Du Vaudou (cd, Buda Musique, 2005)\r\n
                  In the world of Haitian voodoo, there are 101 'nations', or families of deities (also called\r\n
                  mysteries, 'loas', saints or angels), which are often named after African tribes or ethnic groups\r\n
                  from where the imported slaves into the country originally came from. This cd captures the\r\n
                  music of several ceremonies led by high priest and master percussionist Pierre Chériza and his\r\n
                  ensemble.\r\n
                  \r\n
                  Recorded by Luc Candardjis.\r\n
                  - Pierre Chériza Fènèlus e.a.: Ouvre Baryé\r\n
                  - Pierre Chériza Fènèlus e.a.: Signale Agouet Aroyo\r\n
                  - Pierre Chériza Fènèlus e.a.: Rythme Rassemblement\r\n
                  - Pierre Chériza Fènèlus e.a.: Rythme Mahi\r\n
                  - Pierre Chériza Fènèlus e.a.: Rythme Petro
                  """
              ]
              #original: array:7 [
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                "locale" => "en"
                "title" => "Travelogue"
                "slug" => "travelogue-2"
                "intro" => null
                "text" => """
                  Travelogue pays tribute to global traditional folk music, focussing on the work of field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Vietnam, Gabon, French Guiana, Jordan, Iran, Italy and Haïti.\r\n
                  \r\n
                  Viêtnam: anthologie de la musique êdê (cd, Buda Musique, 2000)\r\n
                  A collection of songs of the Êdê people from the Dak Lak plateau in Vietnam. Each instrumental or vocal form is meant to accompany one ritual or another, following the calendar of seasonal works or occasional events (the first rain, the new rice harvest, the new year, building a house, funerals...).\r\n
                  \r\n
                  Recorded by Patrick Bersalé, 1997-98.\r\n
                  - Ama Nuên: Cithare sur calebasse (Bro')\r\n
                  - Y-Yoi Hwing: Guimbarde\r\n
                  - Yă H'Riu: Aê Rêi\r\n
                  - Yă H'Phũt: Souffler Les Tuyaux En Chantant Le Aê Rêi\r\n
                  - Yă H'Riu: Sangloter\r\n
                  - Ama Nuên, Ama Wơn & Ama H'Nga: Polyrithmie de bambous percutés (Cing Kram)\r\n
                  - Peuple Êdê: Ensemble de gongs - Salutation aux invités\r\n
                  \r\n
                  Gabon. Musiques des pygmées Bibayak/chantres de l'épopée (cd, Ocora, 1989)\r\n
                  Vocal polyphonies of the Bibayak pygmies of Gabon, who call themselves Baka Bambuké. The music erupts in a broken vocalizing of pure sounds, a technique known as 'yodeling', mostly reserved for women (while men are assigned to percussion and dance). These polyphonies can hold up to 8 voices, entering successively, adjusting to one another in canons and imitations.\r\n
                  \r\n
                  Recorded by Pierre Sallée, 1966 & 1973.\r\n
                  - baka bambuké:: séquences polyphoniques: a) 5 voix et tambour b) et c) choeur et percussions\r\n
                  - baka bambuké: séquences polyphoniques: suite\r\n
                  - baka bambuké: mebasi - jeu vocal (a,b)\r\n
                  \r\n
                  Wayāpi de Guyane. Un visage sonore d'Amazonie (cd, Le chant du monde, 1998)\r\n
                  The Wayãpi, totalling around 1000 people, live in the Amazon rainforests of northeastern Brasil\r\n
                  and southern French Guiana. Their repetitive music is inseparable from the natural\r\n
                  environment, reaffirming the pleasure of living, celebrating fish, birds, maize, dragonflies,\r\n
                  manioc beer... Apart from different types of panpipes and the sounds of rubbed turtle-shells, the\r\n
                  low, rough sounds of the 'tule', large unisono clarinets made of reeds and bamboo tubes,\r\n
                  without finger-holes, are remarkable here.\r\n
                  \r\n
                  Recordings: Jean-Michel Beaudet, 1977, 1978, 1979, 1981, 1995\r\n
                  - Forêt, le matin\r\n
                  - So' okānge - Solo de flûte en os à encoche\r\n
                  - Kasili - "La Bière de Manioc" (Flûte de Pan et Carapace de Tortue frottée)\r\n
                  - Répertoire Tulekalanā - "Ton village mon amour !"\r\n
                  - Tasia - répertoire Pilatule "La danse des poissons"\r\n
                  - Répertoire Moyotule - "Le Toucan"\r\n
                  \r\n
                  Inedit: Jordanie. Chants bédoins, Chants de mariage, Chants des pêcheurs d'Aqaba (cd,\r\n
                  Maison des cultures du monde, 1998)\r\n
                  Singing is considered the most genuine expression of Jordanian life; the instruments generally\r\n
                  play a secondary role, and those which are used imitate the sound of the human voice. Popular\r\n
                  instruments are the one stringed bowed lute (rebâb), the flute (nây), the ten stringed lyre\r\n
                  (simsimiya) and hand clapping (sahja) or feet stamping (dabkeh).\r\n
                  \r\n
                  Recorded by Pierre Bois, 1997\r\n
                  - Jamal Khleif: Dahiya, samer (Chant Bédouin)\r\n
                  - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Ya Shajirat Al-tufah (Chant de\r\n
                  Mariage)\r\n
                  - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Men Al-sabah L-al-'asr (Chant\r\n
                  de Mariage)\r\n
                  - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: 'Alhajr Barra (Chant de Mariage)\r\n
                  - Sufian Jaser Eid, Ayman Bashir al-Yamani, Muhammad'Abed Al Salhîn, Isma'il Mahmud\r\n
                  Abu'Awali, Eid Abbas Muhammad Kayyal: Mawwal, Ughniya (Chant de Pêcheur)\r\n
                  \r\n
                  Iran: Bardes du Khorassan - Chants et luth dotâr (cd, Ocora, 1998)\r\n
                  Khorassan is Iran's extreme north-eastern province, highly ethnically diverse, with Persians,\r\n
                  Turks and Kurds being the most important peoples. Bakhshi or bards are story-tellers,\r\n
                  custodians of epic chant and legends who accompany themselves on hand-made two-stringed,\r\n
                  long-necked lutes, the dotâr. They're trained to pass on a repertoire of songs of an amorous,\r\n
                  didactic, religious or patriotic nature, that comes from oral tradition, sung in Turkish, Persian or\r\n
                  Kurdish.\r\n
                  \r\n
                  Recorded by Ameneh Youssefzadeh, 1997\r\n
                  - Mohammad Yegâne: Jân nesâr\r\n
                  - Hâj Qorbân Soleymâni: Jabbâr\r\n
                  - Golnabât Atâ'i: Sakine\r\n
                  - Isâ Qolipur: Oldurme\r\n
                  \r\n
                  Italian Treasury: Puglia - The Salento (cd, Rounder, 2002)\r\n
                  From a series of 11 well researched cds with outstanding recordings made by the famous\r\n
                  American ethnomusicologist Alan Lomax of the folk music traditions of Italy in the 1950s, this\r\n
                  compilation focusses on the Salento, the southeastern-most tip of Italy's heel in the province of\r\n
                  dry, rural Apulia. Songs about harvesting, threshing wheat, love and 'tarantismo', a form of\r\n
                  musical therapy practiced by peasant women to cure the bite of the venomous tarantula-spider.\r\n
                  \r\n
                  Recorded by Alan Lomax & Diego Carpitella, 1954\r\n
                  - Martano: A dove vai bella fanciulla?\r\n
                  - Galatone: Lu Lazzaru\r\n
                  - Martano: Stornelli\r\n
                  - Gallipoli: Sutt'acqua e sutta iento navigamu\r\n
                  - Galatone: E malidettu lu Cinquanta\r\n
                  - Galatone: Pizzica\r\n
                  - Galatone: Ninnarella\r\n
                  \r\n
                  Haïti: Les 101 Nations Du Vaudou (cd, Buda Musique, 2005)\r\n
                  In the world of Haitian voodoo, there are 101 'nations', or families of deities (also called\r\n
                  mysteries, 'loas', saints or angels), which are often named after African tribes or ethnic groups\r\n
                  from where the imported slaves into the country originally came from. This cd captures the\r\n
                  music of several ceremonies led by high priest and master percussionist Pierre Chériza and his\r\n
                  ensemble.\r\n
                  \r\n
                  Recorded by Luc Candardjis.\r\n
                  - Pierre Chériza Fènèlus e.a.: Ouvre Baryé\r\n
                  - Pierre Chériza Fènèlus e.a.: Signale Agouet Aroyo\r\n
                  - Pierre Chériza Fènèlus e.a.: Rythme Rassemblement\r\n
                  - Pierre Chériza Fènèlus e.a.: Rythme Mahi\r\n
                  - Pierre Chériza Fènèlus e.a.: Rythme Petro
                  """
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    3 => Article {#394
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        11 => "instagram"
        12 => "soundcloud"
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        14 => "bandcamp"
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        "id" => 1546
        "created_at" => "2019-01-10 12:00:34"
        "updated_at" => "2019-03-13 12:00:34"
        "order" => 296
        "published" => 1
        "parent_id" => 1
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        "date" => "2019-01-11"
        "tracklist" => """
          **Uchina: sounds of Okinawa Island (Winter & Winter, 2013)**\r\n
          \r\n
          A selection of songs from the Japanese island of Okinawa, talking about logging, harvest, the ocean and love. Remarkable instruments here are: sanshin (a three stringed lute with a snake skin body) and taiko (drums, e.g. shime-daiko). Recorded by Stefan Winter (2011) & Senri Miyazato (nr 2, 1981).\r\n
          \r\n
          * 1/ Deigo Musume: kunjansabakui \r\n
          * 2/ Festival voices: miyako nishibe yukui: michiyuki yonteru\r\n
          * 3/ Keiko Higa & shimadaiko: nami \r\n
          * 4/ Hajime Nakasone: amakaa\r\n
          \r\n
          **Kenya & Tanzania: witchcraft & ritual music (Nonesuch, 1975/1991)**\r\n
          \r\n
          Music from the Lamu, Giriama, Taita and Luo tribes of Kenya, used as medicine in witchcraft practices. Healing sounds from drums, the uta (one stringed harp), the nyatiti (eight stringed harp) and blowing the bung'o (horn).\r\n
          Recorded by David Fanshawe.\r\n
          \r\n
          * 5/ unknown: nyatiti (Luo, Kenya) \r\n
          * 6/ unknown: coconut pickers song (Lamu, Kenya)\r\n
          * 7/ unknown: giriama spirit dance (Giriama, Kenya) \r\n
          * 8/ unknown: ngoma ra mrongo (Taita, Kenya)\r\n
          * 9/ kayamba dance: giriama wedding (Giriama, Kenya)\r\n
          \r\n
          **Tombe Ditumba: Musique des Luba-Shankadi du Shaba - Zaïre (MRAC/Fonti Musicali, 1994)**\r\n
          \r\n
          Different samples of music from the Luba-Shankadi tribe of south-Congo (Kasai & Shaba provinces), related to hunting, dancing, work, birth, hospitality on specific instruments like the dikembe (thumb piano), madimba (xylophone), lusuba (mouth bow). \r\n
          Recorded by Jos Gansemans of the Royal Museum of Central Africa, Brussels in 1970, 1972 & 1973.\r\n
          \r\n
          * 10/ unknown: chant de chasse buyanga \r\n
          * 11/ unknown: chant pour piler le manioc\r\n
          * 12/ unknown: chant pour les jumeaux mapasa\r\n
          * 13/ unknown: chant narratif \r\n
          * 14/ unknown: danse matolo\r\n
          * 15/ unknown: duo de dikembe\r\n
          * 16/ unknown: arc à bouche lusuba\r\n
          * 17/ unknown: berceuse \r\n
          \r\n
          **Grèce. Paralogues. Chants traditionnels (Ocora, 2006)**\r\n
          \r\n
          Paralogues are traditional Greek narrative songs of epic nature, drawing from popular beliefs, everyday life and ancient myths. The selected songs talk about an evil mother-in-law; the Triha bridge; a young stone cutter who has only one hand; a bridesmade who became a bride and the return of an expatriate husband. \r\n
          Recorded by Greek national radio, 2005.\r\n
          \r\n
          * 18/ Nikos Papavramides & chorus: kakia pethera (Pontos, Black Sea)\r\n
          * 19/ Eleni Bairaktaris-Kotalakidi, Christos Bairaktaris & chorus: tis trihas to giofyri (Pontos, Black Sea)\r\n
          * 20/ Doras Stratou choir: agourous petra peleka (Skyros Island)\r\n
          * 21/ Savas Siatras: Tis Koubaras Pou Egine Nyfi\r\n
          * 22/ D. Vagias, S. Kitsanelli, N. Sadedin, V. Gogos, V. Charisis & C. Litos: o gyrismos tou xenitemenou sizigou (Epirus)\r\n
          \r\n
          **Anadolu Ninnileri/Anatolian Lullabies (Kalan, 2006)**\r\n
          \r\n
          Lullabies ("ninni"), typically sung by mothers to soothe their children or put them to sleep, are one of the most characteristic genres within the musical culture of Anatolia (Turkey). They can be found across the various ethnic groups living in Anatolia, sung in languages other than Turkish, like Romani, Armenian, Judeo-Spanish, Sorani, Greek, Eastern Aramaic, Kurdish...  \r\n
          Collected from archives by Kalan Müzik, Melih Duygulu, Hasan Kuzu, Muammer Ketencoglu, Birol Topaloglu, Hadas Pal-Yarden.\r\n
          \r\n
          * 23/ Melih Duygulu: Dandini Dandini Dasdana\r\n
          * 24/ Muzaffer Akgün: Adalardan Ciktim Yayan \r\n
          * 25/ Tatyana Bostan: Bar bar genem \r\n
          * 26/ Hadass Pal-Yarden: durme durme\r\n
          * 27/ Ayfer Düzdas: lay lay\r\n
          * 28/ Sebnem Boral: zorik\r\n
          \r\n
          **Afghanistan untouched (Traditional Crossroads, 2003)**\r\n
          \r\n
          Afghanistan overflows with musical treasures; its lyrical instruments and haunting melodies are as astonishing in their variety and uniqueness as the ethnically dense country itself. An amazing collection of Tajik, Uzbek, Pashtun, Herati, Kazakh and Turkmen songs from a peaceful era, on instruments like dambura (long necked lute), doira (frame drum), zirbaghali (single headed pottery drum), ghichak (two-stringed fiddle) or dutar (long necked two-stringed lute) a.o.\r\n
          Recorded by Mark Slobin in 1968.\r\n
          \r\n
          * 29/ Adam: Excerpt Of The Adam Khan Tale (Pashtun)\r\n
          * 30/ Mohamed Qasem: Shirin, Shirin (Dutar Piece) (Herati)\r\n
          * 31/ Khodai Qul: Guroghili Epic Tale Excerpt (Uzbek)\r\n
          * 32/ Aq Pishak (w/ Salaidin and Achel): Teahouse Songs (Uzbek)\r\n
          * 33/ Adinabeg: Felak Song From Darwaz Region Of Badakhshan (Tajik)\r\n
          * 34/ Zulaikha & Gulandam: Women's Wedding Song (Uzbek)
          """
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          **Uchina: sounds of Okinawa Island (Winter & Winter, 2013)**\r\n
          \r\n
          A selection of songs from the Japanese island of Okinawa, talking about logging, harvest, the ocean and love. Remarkable instruments here are: sanshin (a three stringed lute with a snake skin body) and taiko (drums, e.g. shime-daiko). Recorded by Stefan Winter (2011) & Senri Miyazato (nr 2, 1981).\r\n
          \r\n
          * 1/ Deigo Musume: kunjansabakui \r\n
          * 2/ Festival voices: miyako nishibe yukui: michiyuki yonteru\r\n
          * 3/ Keiko Higa & shimadaiko: nami \r\n
          * 4/ Hajime Nakasone: amakaa\r\n
          \r\n
          **Kenya & Tanzania: witchcraft & ritual music (Nonesuch, 1975/1991)**\r\n
          \r\n
          Music from the Lamu, Giriama, Taita and Luo tribes of Kenya, used as medicine in witchcraft practices. Healing sounds from drums, the uta (one stringed harp), the nyatiti (eight stringed harp) and blowing the bung'o (horn).\r\n
          Recorded by David Fanshawe.\r\n
          \r\n
          * 5/ unknown: nyatiti (Luo, Kenya) \r\n
          * 6/ unknown: coconut pickers song (Lamu, Kenya)\r\n
          * 7/ unknown: giriama spirit dance (Giriama, Kenya) \r\n
          * 8/ unknown: ngoma ra mrongo (Taita, Kenya)\r\n
          * 9/ kayamba dance: giriama wedding (Giriama, Kenya)\r\n
          \r\n
          **Tombe Ditumba: Musique des Luba-Shankadi du Shaba - Zaïre (MRAC/Fonti Musicali, 1994)**\r\n
          \r\n
          Different samples of music from the Luba-Shankadi tribe of south-Congo (Kasai & Shaba provinces), related to hunting, dancing, work, birth, hospitality on specific instruments like the dikembe (thumb piano), madimba (xylophone), lusuba (mouth bow). \r\n
          Recorded by Jos Gansemans of the Royal Museum of Central Africa, Brussels in 1970, 1972 & 1973.\r\n
          \r\n
          * 10/ unknown: chant de chasse buyanga \r\n
          * 11/ unknown: chant pour piler le manioc\r\n
          * 12/ unknown: chant pour les jumeaux mapasa\r\n
          * 13/ unknown: chant narratif \r\n
          * 14/ unknown: danse matolo\r\n
          * 15/ unknown: duo de dikembe\r\n
          * 16/ unknown: arc à bouche lusuba\r\n
          * 17/ unknown: berceuse \r\n
          \r\n
          **Grèce. Paralogues. Chants traditionnels (Ocora, 2006)**\r\n
          \r\n
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          Recorded by Greek national radio, 2005.\r\n
          \r\n
          * 18/ Nikos Papavramides & chorus: kakia pethera (Pontos, Black Sea)\r\n
          * 19/ Eleni Bairaktaris-Kotalakidi, Christos Bairaktaris & chorus: tis trihas to giofyri (Pontos, Black Sea)\r\n
          * 20/ Doras Stratou choir: agourous petra peleka (Skyros Island)\r\n
          * 21/ Savas Siatras: Tis Koubaras Pou Egine Nyfi\r\n
          * 22/ D. Vagias, S. Kitsanelli, N. Sadedin, V. Gogos, V. Charisis & C. Litos: o gyrismos tou xenitemenou sizigou (Epirus)\r\n
          \r\n
          **Anadolu Ninnileri/Anatolian Lullabies (Kalan, 2006)**\r\n
          \r\n
          Lullabies ("ninni"), typically sung by mothers to soothe their children or put them to sleep, are one of the most characteristic genres within the musical culture of Anatolia (Turkey). They can be found across the various ethnic groups living in Anatolia, sung in languages other than Turkish, like Romani, Armenian, Judeo-Spanish, Sorani, Greek, Eastern Aramaic, Kurdish...  \r\n
          Collected from archives by Kalan Müzik, Melih Duygulu, Hasan Kuzu, Muammer Ketencoglu, Birol Topaloglu, Hadas Pal-Yarden.\r\n
          \r\n
          * 23/ Melih Duygulu: Dandini Dandini Dasdana\r\n
          * 24/ Muzaffer Akgün: Adalardan Ciktim Yayan \r\n
          * 25/ Tatyana Bostan: Bar bar genem \r\n
          * 26/ Hadass Pal-Yarden: durme durme\r\n
          * 27/ Ayfer Düzdas: lay lay\r\n
          * 28/ Sebnem Boral: zorik\r\n
          \r\n
          **Afghanistan untouched (Traditional Crossroads, 2003)**\r\n
          \r\n
          Afghanistan overflows with musical treasures; its lyrical instruments and haunting melodies are as astonishing in their variety and uniqueness as the ethnically dense country itself. An amazing collection of Tajik, Uzbek, Pashtun, Herati, Kazakh and Turkmen songs from a peaceful era, on instruments like dambura (long necked lute), doira (frame drum), zirbaghali (single headed pottery drum), ghichak (two-stringed fiddle) or dutar (long necked two-stringed lute) a.o.\r\n
          Recorded by Mark Slobin in 1968.\r\n
          \r\n
          * 29/ Adam: Excerpt Of The Adam Khan Tale (Pashtun)\r\n
          * 30/ Mohamed Qasem: Shirin, Shirin (Dutar Piece) (Herati)\r\n
          * 31/ Khodai Qul: Guroghili Epic Tale Excerpt (Uzbek)\r\n
          * 32/ Aq Pishak (w/ Salaidin and Achel): Teahouse Songs (Uzbek)\r\n
          * 33/ Adinabeg: Felak Song From Darwaz Region Of Badakhshan (Tajik)\r\n
          * 34/ Zulaikha & Gulandam: Women's Wedding Song (Uzbek)
          """
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[{"id":1806,"created_at":"05.04.2019","updated_at":"il y a 1 semaine","order":44,"published":1,"parent_id":1,"image_une":{"id":2156,"ext":"jpg","name":"1554455630-travelogue04.jpg","alt":"travelogue04","description":null,"mediatable_id":1806,"order":null,"type":"une","mediatable_type":"App\\Article","created_at":"2019-04-05 09:13:50","updated_at":"2019-04-05 09:14:17","width":1600,"height":1200},"date":"05.04.2019","tracklist":null,"mixcloud_show_url":"https:\/\/www.mixcloud.com\/TheWordMagazine\/travelogue-05042019\/","link":null,"facebook":null,"twitter":null,"instagram":null,"related_article_id":1547,"start_hour":"","end_hour":"","mp3_file":null,"recommended":0,"intro":null,"soundcloud":null,"mixcloud":null,"bandcamp":null,"title":"Travelogue","text":"Travelogue presents a selection of traditional folk music from around the world, recorded and documented by field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Azerbaijan, China, Thailand, Uganda, Burundi and Brazil.\r\n\r\nAnthology of world music. The music of Azerbaijan (cd, Rounder, 2003)\r\n\r\nThe music of Azerbaijan is modal and mainly homophonic and belongs to the musical culture of the Middle East. An essential musical form is the 'mugam' (as in Arabic: maqam): compositions and variations in a specific mode but also referring to the whole vocal-instrumental form itself, performed by khanande (singer of art music) and sazande: ensembles of players of tar (lute), kamanje (spike-fiddle) and daf (or gaval, a frame drum with jingling metal rings). Also included here: a stray song from the ashug tradition (wandering folk performers) and a folk dance song reminiscent of the Turkish davul-zurna duets. Other typical instruments are: tutek (whistle), balaman or duduk (double reed wind instrument), zurna (double reed), saz (long necked lute), tulum (bagpipe) and nagara (double-headed drum).\r\n\r\nRecordings by Radio Baku, 1971. A reissue on cd by Rounder as part of a series of 50 albums, originally issued as The Unesco Collection on B\u00e4renreiter Verlag\/Musicaphon and edited by the International Institute for Traditional Music in Berlin (by Alain Dani\u00e9lou & Ivan Vandor), between 1968 and 1987. \r\n\r\n- Abil Aliyev: Beste Nigar (kamanje solo)\r\n- Amrah Gyalma: Jalili (song of an shug, vocal and saz)\r\n- Bahruz Zeinalov: Roza (popular dance, duduk and nagara)\r\n- V\/A: Keroylu (a heroic dance, zurna and nagara)\r\n\r\nEthnic Minority Music Of Northwest Xinjiang, China (cd, Sublime Frequencies, 2016)\r\n\r\nMusic from four different ethnic minorities of Xinjiang ('new frontier in Chinese') or Eastern Turkestan, the largest Chinese province and a territory of ethnic conflict (between Han newcomers and Muslim minorities). The featured songs here are performed on the dongbra (a Kazakh two-stringed lute), the tambur (an Uyghur five metal double stringed lute), the komuz (a Kyrgyz three-stringed fretless instrument) and topchar (Mongol two nylon stringed instrument).\r\nRecorded by Laurent Janneau & Shi Tanding, 2009\r\n\r\n- Pa Hat: Margul (Uyghur)\r\n- Ashimunur Kurmanjiang: The Mountain's Pine Trees (Kazakh)\r\n- Zhong Ga: Four Different Bai Boor Den (Mongol)\r\n- Xia Ar Ghen Aokhan: Atamake (Kyrgyz)\r\n- Kurmanjiang Zaccharia: Babulao (Kazakh)\r\n\r\nThailande. La musique des M\u00f4ns (cd, Playa Sound, 1988)\r\n\r\nThe M\u00f4ns are one of the oldest cultures of the Indo-Chinese peninsula, since prehistoric times. In Buddha's time their states overlapped actual Myanmar, Thailand and Cambodia. Their music is a synthesis of Burmese instruments and Thai structures and scales. The percussion orchestra's typically have xylophones, metallophones, drums, gongs and oboes. The music is mainly performed on special events, magical or religious ceremonies in monasteries.\r\nRecorded by Hubert de Fraysseix, 1976.\r\n\r\n- V\/A: Mawn Yardie, Musique De Cremation\r\n- V\/A: HUM Rong Krathai TEN, Musique D'offrande\r\n- V\/A: Nguew RA Ruheng, Musique De Combat\r\n\r\nRoyal court music from Uganda - 1950 & 1952 (cd, Sharp Wood Productions, 1998) \r\n\r\nIn 1966 the post-colonial Ugandan governement brutally fell on the royal courts of the Ganda, Nyoro and Ankole peoples, as the old African kings were seen as rivals for power. The musicians were killed or dispersed, the royal instruments destroyed. The royal music was fortunately documented before this tragedy and can be heard on this disc with recordings made by the legendary South-African field recordist Hugh Tracey, who had made two Ugandan field trips in the early 1950s. The royal bands consisted of members of one clan who specialised in a relevant instrument, like amadinda and akadinda xylophones, the ennanga 8-string harp, the endongo 8 string bowl lyre, the endingidi 1 string fiddle, the entenga conical laced drum, amakondere gourd & cow horns and endere flutes.\r\n\r\nRecorded by Hugh Tracey, 1950 & 1952. Selected from the archives of the International Library of African Music.\r\n\r\n- Bomera & Tibuhoire: Kitwekize kya winyi (Nyoro)\r\n- Temusewo Mukasa: Okwagala omlulungi kwesengereza (Ganda)\r\n- Evalisto Muyinda: Sewaswa kazalabalongo (Ganda)\r\n- Zakaria Kasasa: Akasozi bamunanika (Ganda)\r\n- Bulasio Araya & The Abanyabyata Royal Horn Band: Rwankanembe (Nyoro)\r\n- Ssaza Cheif Kago & Danieri Seruwaniko: Bwemba nkwagala nkugamba (Ganda)\r\n- Ntamivu za Kabaka: Katego (Ganda)\r\n- Ludovico Mugerwa: Mulamu namala ampita erinya (Ganda)\r\n- Yohana Nyakayonga & The Ntimbo Royal Drummers: Ntimbo (Nyoro)\r\n- Abalere ba Kabaka: Asenga omwami tagayala (Ganda)\r\n- Kihuka & The Ntajemerwa Royal Drummers: Ntajemerwa (Nyoro)\r\n\r\nMusiques du Burundi (cd, Fonti Musicali, 1997)\r\n\r\nThe ngoma (drum) music of Burundi has been extensively studied and released but this cd focusses mainly on other instruments like the inanga (a 6-7 stringed trough zither), accompanying whispered songs, that traditionally praise the king and the cattle; the umuduri (musical bow), accompanying songs about daily life; the indingidi (a one-stringed fiddle) and the ikembe (a lamellaphone also known in other African countries as sanza, mbira, likembe or kalimba). Different instruments are also combined in an orchestral ensemble, which is a recent trend in the development of traditional music in Burundi. \r\nRecorded by Frank Michiels, 1990. Coproduced by the Royal Museum of Central-Africa, Tervuren, Belgium.\r\n\r\n- Pierre Ntibarangerageza: Horere dawe (Ikembe)\r\n- Augustin Ndabagumije: Akadegedege (Indingidi)\r\n- Jean Nzigiye: Kugira inama (Indingidi)\r\n- Mathias Mujiriro: Helena wanje (Umuduri)\r\n- Francis Bitagoye: Ari hehe (Inanga)\r\n- Joseph Torobeka: Raba izo ntama (Inanga)\r\n- Mathias Mujiriro: Abantu barakuza amajambo (Orchestre)\r\n\r\nL.H. Corr\u00eaa de Azevedo: Music Of Cear\u00e1 and Minas Gerais (cd, Rykodisc, 1997)\r\n\r\nAside from the war-time cooperation between the US and Brazil in the early 1940s, the Archive of American Folk-Song at the Library of Congress in Washington supported Brazilian musicologists to record and document Brazilian folk music, by loaning recording equipment and providing technical and methodological know-how. From the four field expeditions that L.H Corr\u00eaa de Azevedo made in central and northern Brazil, fthis cd presents the music of the states of Cear\u00e1 and Minas Gerais. Determined to document the \"other\" Brazil, he looked for Brazil's indigenous, African and ultimately mixed folk music genres, like c\u00f4co, xang\u00f4, congo, maracat\u00fa, roj\u00e3o a.o.\r\nRecordings by Luiz Heitor Corr\u00eaa de Azevedo, 1943 & 1944. Part of The Endangered Music Project, a series of 6 cd's that's part of 'The World', a larger series of 25 albums curated by Grateful Dead percussionist Mickey Hart in collaboration with Smithsonian Folkways Recordings.\r\n\r\n- V\/A: Secando a \u00c1gua (Canto dos mineiradores)\r\n- The Almeida family: Diamantina (Valsa)\r\n- V\/A: Coco dos Mateiros (Coco Com Viola)\r\n- V\/A: A Paia da Cana Av\u00f4a\r\n- Jo\u00e3o Louren\u00e7o: A Mangueira\r\n- Grupo de Luiz Pereira da Silva: Can\u00e7\u00f5es dos Congos\r\n- Grupo Az de Ouro: Can\u00e7\u00f5es do Maracat\u00fa\r\n- Raimundo Alves Feitosa: Xang\u00f4, Xang\u00f4","slug":"travelogue-4","serie":{"id":1547,"created_at":"10.01.2019","updated_at":"il y a 3 mois","order":8,"published":1,"parent_id":2,"image_une":{"id":1842,"ext":"png","name":"1547480232-travelogue-pic.png","alt":"travelogue pic","description":null,"mediatable_id":1547,"order":1,"type":"une","mediatable_type":"App\\Article","created_at":"2019-01-14 15:37:12","updated_at":"2019-01-14 15:37:12","width":1599,"height":1200},"date":null,"tracklist":null,"mixcloud_show_url":null,"link":null,"facebook":null,"twitter":null,"instagram":null,"related_article_id":null,"start_hour":"","end_hour":"","mp3_file":null,"recommended":0,"intro":null,"soundcloud":null,"mixcloud":null,"bandcamp":null,"title":"Travelogue","text":"Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. \r\nIn the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. \r\nBram De Cock","slug":"travelogue-1","serie":null,"the_tags":[],"translations":[{"id":1547,"article_id":1547,"locale":"en","title":"Travelogue","slug":"travelogue-1","intro":null,"text":"Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. \r\nIn the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. \r\nBram De Cock"}]},"the_tags":[{"id":13,"parent_id":1,"created_at":"2017-11-13 13:59:45","updated_at":"2017-11-13 13:59:45","order":0,"name":"ethnomusicology","slug":"ethnomusicology","pivot":{"article_id":1806,"tag_id":13,"created_at":"2019-04-09 11:55:04","updated_at":"2019-04-09 11:55:04"},"translations":[{"id":13,"tag_id":13,"locale":"en","name":"ethnomusicology","slug":"ethnomusicology"}]},{"id":30,"parent_id":1,"created_at":"2017-11-13 15:37:00","updated_at":"2017-11-13 15:37:00","order":0,"name":"folk","slug":"folk","pivot":{"article_id":1806,"tag_id":30,"created_at":"2019-04-09 11:55:04","updated_at":"2019-04-09 11:55:04"},"translations":[{"id":30,"tag_id":30,"locale":"en","name":"folk","slug":"folk"}]},{"id":83,"parent_id":1,"created_at":"2017-12-02 20:29:23","updated_at":"2017-12-02 20:29:23","order":0,"name":"world","slug":"world","pivot":{"article_id":1806,"tag_id":83,"created_at":"2019-04-09 11:55:04","updated_at":"2019-04-09 11:55:04"},"translations":[{"id":83,"tag_id":83,"locale":"en","name":"world","slug":"world"}]}],"translations":[{"id":1806,"article_id":1806,"locale":"en","title":"Travelogue","slug":"travelogue-4","intro":null,"text":"Travelogue presents a selection of traditional folk music from around the world, recorded and documented by field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Azerbaijan, China, Thailand, Uganda, Burundi and Brazil.\r\n\r\nAnthology of world music. The music of Azerbaijan (cd, Rounder, 2003)\r\n\r\nThe music of Azerbaijan is modal and mainly homophonic and belongs to the musical culture of the Middle East. An essential musical form is the 'mugam' (as in Arabic: maqam): compositions and variations in a specific mode but also referring to the whole vocal-instrumental form itself, performed by khanande (singer of art music) and sazande: ensembles of players of tar (lute), kamanje (spike-fiddle) and daf (or gaval, a frame drum with jingling metal rings). Also included here: a stray song from the ashug tradition (wandering folk performers) and a folk dance song reminiscent of the Turkish davul-zurna duets. Other typical instruments are: tutek (whistle), balaman or duduk (double reed wind instrument), zurna (double reed), saz (long necked lute), tulum (bagpipe) and nagara (double-headed drum).\r\n\r\nRecordings by Radio Baku, 1971. A reissue on cd by Rounder as part of a series of 50 albums, originally issued as The Unesco Collection on B\u00e4renreiter Verlag\/Musicaphon and edited by the International Institute for Traditional Music in Berlin (by Alain Dani\u00e9lou & Ivan Vandor), between 1968 and 1987. \r\n\r\n- Abil Aliyev: Beste Nigar (kamanje solo)\r\n- Amrah Gyalma: Jalili (song of an shug, vocal and saz)\r\n- Bahruz Zeinalov: Roza (popular dance, duduk and nagara)\r\n- V\/A: Keroylu (a heroic dance, zurna and nagara)\r\n\r\nEthnic Minority Music Of Northwest Xinjiang, China (cd, Sublime Frequencies, 2016)\r\n\r\nMusic from four different ethnic minorities of Xinjiang ('new frontier in Chinese') or Eastern Turkestan, the largest Chinese province and a territory of ethnic conflict (between Han newcomers and Muslim minorities). The featured songs here are performed on the dongbra (a Kazakh two-stringed lute), the tambur (an Uyghur five metal double stringed lute), the komuz (a Kyrgyz three-stringed fretless instrument) and topchar (Mongol two nylon stringed instrument).\r\nRecorded by Laurent Janneau & Shi Tanding, 2009\r\n\r\n- Pa Hat: Margul (Uyghur)\r\n- Ashimunur Kurmanjiang: The Mountain's Pine Trees (Kazakh)\r\n- Zhong Ga: Four Different Bai Boor Den (Mongol)\r\n- Xia Ar Ghen Aokhan: Atamake (Kyrgyz)\r\n- Kurmanjiang Zaccharia: Babulao (Kazakh)\r\n\r\nThailande. La musique des M\u00f4ns (cd, Playa Sound, 1988)\r\n\r\nThe M\u00f4ns are one of the oldest cultures of the Indo-Chinese peninsula, since prehistoric times. In Buddha's time their states overlapped actual Myanmar, Thailand and Cambodia. Their music is a synthesis of Burmese instruments and Thai structures and scales. The percussion orchestra's typically have xylophones, metallophones, drums, gongs and oboes. The music is mainly performed on special events, magical or religious ceremonies in monasteries.\r\nRecorded by Hubert de Fraysseix, 1976.\r\n\r\n- V\/A: Mawn Yardie, Musique De Cremation\r\n- V\/A: HUM Rong Krathai TEN, Musique D'offrande\r\n- V\/A: Nguew RA Ruheng, Musique De Combat\r\n\r\nRoyal court music from Uganda - 1950 & 1952 (cd, Sharp Wood Productions, 1998) \r\n\r\nIn 1966 the post-colonial Ugandan governement brutally fell on the royal courts of the Ganda, Nyoro and Ankole peoples, as the old African kings were seen as rivals for power. The musicians were killed or dispersed, the royal instruments destroyed. The royal music was fortunately documented before this tragedy and can be heard on this disc with recordings made by the legendary South-African field recordist Hugh Tracey, who had made two Ugandan field trips in the early 1950s. The royal bands consisted of members of one clan who specialised in a relevant instrument, like amadinda and akadinda xylophones, the ennanga 8-string harp, the endongo 8 string bowl lyre, the endingidi 1 string fiddle, the entenga conical laced drum, amakondere gourd & cow horns and endere flutes.\r\n\r\nRecorded by Hugh Tracey, 1950 & 1952. Selected from the archives of the International Library of African Music.\r\n\r\n- Bomera & Tibuhoire: Kitwekize kya winyi (Nyoro)\r\n- Temusewo Mukasa: Okwagala omlulungi kwesengereza (Ganda)\r\n- Evalisto Muyinda: Sewaswa kazalabalongo (Ganda)\r\n- Zakaria Kasasa: Akasozi bamunanika (Ganda)\r\n- Bulasio Araya & The Abanyabyata Royal Horn Band: Rwankanembe (Nyoro)\r\n- Ssaza Cheif Kago & Danieri Seruwaniko: Bwemba nkwagala nkugamba (Ganda)\r\n- Ntamivu za Kabaka: Katego (Ganda)\r\n- Ludovico Mugerwa: Mulamu namala ampita erinya (Ganda)\r\n- Yohana Nyakayonga & The Ntimbo Royal Drummers: Ntimbo (Nyoro)\r\n- Abalere ba Kabaka: Asenga omwami tagayala (Ganda)\r\n- Kihuka & The Ntajemerwa Royal Drummers: Ntajemerwa (Nyoro)\r\n\r\nMusiques du Burundi (cd, Fonti Musicali, 1997)\r\n\r\nThe ngoma (drum) music of Burundi has been extensively studied and released but this cd focusses mainly on other instruments like the inanga (a 6-7 stringed trough zither), accompanying whispered songs, that traditionally praise the king and the cattle; the umuduri (musical bow), accompanying songs about daily life; the indingidi (a one-stringed fiddle) and the ikembe (a lamellaphone also known in other African countries as sanza, mbira, likembe or kalimba). Different instruments are also combined in an orchestral ensemble, which is a recent trend in the development of traditional music in Burundi. \r\nRecorded by Frank Michiels, 1990. Coproduced by the Royal Museum of Central-Africa, Tervuren, Belgium.\r\n\r\n- Pierre Ntibarangerageza: Horere dawe (Ikembe)\r\n- Augustin Ndabagumije: Akadegedege (Indingidi)\r\n- Jean Nzigiye: Kugira inama (Indingidi)\r\n- Mathias Mujiriro: Helena wanje (Umuduri)\r\n- Francis Bitagoye: Ari hehe (Inanga)\r\n- Joseph Torobeka: Raba izo ntama (Inanga)\r\n- Mathias Mujiriro: Abantu barakuza amajambo (Orchestre)\r\n\r\nL.H. Corr\u00eaa de Azevedo: Music Of Cear\u00e1 and Minas Gerais (cd, Rykodisc, 1997)\r\n\r\nAside from the war-time cooperation between the US and Brazil in the early 1940s, the Archive of American Folk-Song at the Library of Congress in Washington supported Brazilian musicologists to record and document Brazilian folk music, by loaning recording equipment and providing technical and methodological know-how. From the four field expeditions that L.H Corr\u00eaa de Azevedo made in central and northern Brazil, fthis cd presents the music of the states of Cear\u00e1 and Minas Gerais. Determined to document the \"other\" Brazil, he looked for Brazil's indigenous, African and ultimately mixed folk music genres, like c\u00f4co, xang\u00f4, congo, maracat\u00fa, roj\u00e3o a.o.\r\nRecordings by Luiz Heitor Corr\u00eaa de Azevedo, 1943 & 1944. Part of The Endangered Music Project, a series of 6 cd's that's part of 'The World', a larger series of 25 albums curated by Grateful Dead percussionist Mickey Hart in collaboration with Smithsonian Folkways Recordings.\r\n\r\n- V\/A: Secando a \u00c1gua (Canto dos mineiradores)\r\n- The Almeida family: Diamantina (Valsa)\r\n- V\/A: Coco dos Mateiros (Coco Com Viola)\r\n- V\/A: A Paia da Cana Av\u00f4a\r\n- Jo\u00e3o Louren\u00e7o: A Mangueira\r\n- Grupo de Luiz Pereira da Silva: Can\u00e7\u00f5es dos Congos\r\n- Grupo Az de Ouro: Can\u00e7\u00f5es do Maracat\u00fa\r\n- Raimundo Alves Feitosa: Xang\u00f4, Xang\u00f4"}]},{"id":1725,"created_at":"13.03.2019","updated_at":"il y a 1 mois","order":124,"published":1,"parent_id":1,"image_une":{"id":2061,"ext":"png","name":"1552472378-travelogue03.png","alt":"travelogue03","description":null,"mediatable_id":1725,"order":null,"type":"une","mediatable_type":"App\\Article","created_at":"2019-03-13 10:19:38","updated_at":"2019-03-13 10:22:41","width":1600,"height":1200},"date":"08.03.2019","tracklist":null,"mixcloud_show_url":"https:\/\/www.mixcloud.com\/TheWordMagazine\/travelogue-19032019\/","link":null,"facebook":null,"twitter":null,"instagram":null,"related_article_id":1547,"start_hour":"","end_hour":"","mp3_file":null,"recommended":0,"intro":null,"soundcloud":null,"mixcloud":null,"bandcamp":null,"title":"Travelogue","text":"Travelogue presents a selection of traditional folk music from around the world, recorded and documented by field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Mongolia, New Guinea, Yemen, Togo, Cameroon, Portugal and Mexico.\r\n\r\n> Tserendavaa & Tsogtgerel: Chants Diphoniques de l'Alta\u00ef Mongol\/X\u00f6\u00f6mij overtone singing from Mongolia (cd, Buda Records, 2008) \r\n\r\nTserendavaa (\u00b01954) and his son Tsogtgerel (\u00b01990) are virtuous exponents of Western-Mongolian overtone singing (x\u00f6\u00f6mij), the technique of overlaying two sounds with one's own voice, basically singing a drone in a normal voice onto which a second harmonic voice is layered, one or more octaves below or above the fundamental tone. The songs are sung either accapella or accompanied by the two-string fiddles moriin xuur and ekel, or the two stringed tovshuur lute.\r\nRecorded by Johanni Curtet, 2007\r\n\r\n* Mongol gerin magtaal\r\n* Xumun torlogton\r\n* Baltchin xerin yavdal\r\n* D\u00f6rv\u00f6n x\u00f6\u00f6mijnii t\u00f6r\u00f6l\r\n* Airxinii shog\r\n* Xoer Altai nutag\r\n\r\n> Sacred flute music from New Guinea: Madang\/Windim Mambu (2cd, Editions Mego, 2016)\r\n\r\nIn Papua New Guinea, only adult men are allowed to make, own and blow flutes and in specific ritual contexts, meant to invoke the presence of the spirits. Flute blowing happens on different occasions, for male initiations, intervillage feasts, sago harvests, births, marriages and deaths. The play is generally accompanied with percussion: with garamuts (wooden slit gongs, used to send out messages over long distances), kundus (hand drums) or shell rattles. These bamboo flutes are always made and played in pairs, the longer flute being the male and the shorter flute, the female.\r\nRecorded by Ragnar Johnson & Jessica Mayer in 1976. Originally released as two separate vinyl albums in 1977 and 1979 on Quartz Publications. Re-released on two separate cds in 1999 on Rounder Records. Songs taken from a new double CD release on Editions Mego.\r\n\r\n* Windim Mambu: Mo-Mo\r\n* Windim Mambu: Rumu\r\n* Sacred Flute: Mo-Mo\r\n\r\n> Y\u00e9men: musiques du coeur de l'Arabie. (cd, Buda Records, 2002)\r\n\r\nA cross-section of folk music as heard in the city of Sanaa and around the country. Featured instruments are the Sanaa-'\u00fbd, the most ancient lute in the Arab world, the semsemiya and tambura lyres (amongst the oldest instruments in Yemen), the ney flute, violin, qanun zither and different types of cylindric, frame and kettle drums. Sounds from the mafraj, a music salon where men meet in the afternoon to enjoy sung and instrumental music and the exhilarating effects of chewing q\u00e2t-leaves. \r\nRecorded by Jean-Christophe Girard, 1999\r\n\r\n* Hassan Aoni al-'Ajami (Chant et 'ud de Sanaa - Sanaa)\r\n* Mohamed al-Kouek (lyre tambura - Zabid)\r\n* Orchestre De Pecheurs (Al-khawkhah)\r\n* Kamilia Anbar Yakout (Chant Solo) et Son Orchestra (Lahej)\r\n\r\n> Togo. Music from West-Africa (cd, Rounder, 1992)\r\n\r\nAn exceptionally diversified compilation of traditional Togolese music. Praise songs to traditional rulers; a couple of songs by Houwenema, the famous griot of Pagouda, plucking his single stringed lute; funeral songs by a female group; proverbial songs adressing quarrelsome women and songs about the nightly devourers of the soul...\r\nRecorded by Dan Kahn and Bill Nowlin, 1977. Originally released on vinyl in 1978.\r\n\r\n* Akofa Akoussah: Mitoe Ne Ayehawo\r\n* Houwenema: Kasa Bu\r\n* Ali Bawa: Ki Man Wo\r\n* Les Femmes Pleureuses De Klo Mayondi: Drodope\r\n* Flutistes Kotokoli: Instrumental\r\n\r\n> Cameroun. Fl\u00fbtes des Monts Mandara. (cd, Ocora, 1996)\r\n\r\nRitual and profane music from the animist peoples of the mountains and the plains of Cameroon's Northernmost Province, including the Mofou, Mofou-Goudour, Mouyang and Ould\u00e9m\u00e9. In the Mandara mountains, the musical instruments used depend on the agrarian cycle, e.g. the growing of millet or the feast of the bull. In the plains, music accompanies different stages in an individual's life or in that of the group: the birth of twins, initiation, hunting, war, mourning, entertainment. Aerophones predominate, especially flutes from bamboo, reed, wood, bark, horn, clay or shell.\r\nRecorded by Nathalie Fernando & Fabrice Marandola, 1994-96.\r\n\r\n* Ould\u00e9m\u00e9 du village de Dibon: Ch\u00e8k I Massakal [Monts Mandara]\r\n* Ould\u00e9m\u00e9 du village de Dibon: Mebaga Andj\u00e9gu\u00e9 [Monts Mandara]\r\n* Ould\u00e9m\u00e9 du village de Dibon: Zavan [Monts Mandara]\r\n* Ould\u00e9m\u00e9 du village de Dibon: Ch\u00e8k I Vendelar [Monts Mandara]\r\n* Mofou du village de Zob: Walay Douroum [Monts Mandara]\r\n\r\n> Portugal. Tr\u00e1s-os-Montes. Chants du bl\u00e9 et cornemuses de berger. (cd, Ocora, 1993)\r\n\r\nSongs about the cultivation of cereals (called romances) and sheep rearing (with the shepherd's bagpipe) from Portugal's isolated, poor, rural Northeastern province Tr\u00e1s-os-Montes. Apart from accompanying the threshing of wheat, shelling the almonds, husking the maize, grinding the flour, lulling the babies or as a distracting watching the flocks, the singing of romances divides the days of mowing into time sequences: a different romance is sung at each of as many as seven times a day. Apart from the flute, the bagpipe (gaita de foles, made of a goatskin bag, two independent pipes and a long drone-pipe) is the only melodic instrument, probably a distant relic of Portugal's Celtic culture.\r\nRecorded by Anne Caufriez, 1978. Reissue on cd of the vinyl LP from 1980.\r\n\r\n* Maria Helena Ventura: Roro\r\n* Augustinho Garido Brazo: Fandango\r\n* Virg\u00edlio Augusto Cristal: O Redondo\r\n* Ad\u00e9lia Garcia: A Fonte Do Salgueirinho\r\n* Paulinho Pereira Jo\u00e3o: Jota\r\n* Paulinho Pereira Jo\u00e3o, Alfredo Falc\u00e3o, & Paulinho Jos\u00e9 Raposo Oliveira: Fandango\r\n* Virg\u00edlio Augusto Cristal: Alvorada\r\n\r\n> Bats'i Son. The music of the highlands of Chiapas, Mexico. (cd, Latitude, 2004)\r\n\r\nDigitally restored, edited and remastered versions of recordings by the American sound engineer Richard Alderson, who had worked before for free jazzers like Albert Ayler and Ornette Coleman and Bob Dylan and Harry Belafonte. Anderson lived for five years in San Cristobal, Chiapas, Mexico where he started to record the local music traditions of various ethnic groups like the Chamula, Zinacantecos, Tzeltal, Ch'ol... Between constant exploding fireworks, you can hear music drawing from prehispanic traditions based on flute & drum play and Spanish colonial music based on guitar, violin, maracas, harp and trumpets. Music to celebrate carnival, the powers of the jaguar, the birth of Christ and other Catholic feasts and rituals.\r\nRecordings: Richard Alderson, 1971-74, originally issued on two Folkways vinyl records.\r\n\r\n* Flute And Drums-Tenango (Tzeltal)\r\n* Carnival - Chalchihuit\u00e1n (Tzotzil)\r\n* Navidad-Mitontik (Tzotzil)\r\n* Fiesta De San Bartolo-Venustiano Carranza (Tzotzil)\r\n* Navidad-Mitontik - Bolom Chon (Jaguar Song) (Tzotzil)\r\n* Son De Carnival-Majosik\r\n* Fiesta De Santa Lucia (Ch'ol)\r\n* Danza De Mujeres-Tenejapa","slug":"travelogue-3","serie":{"id":1547,"created_at":"10.01.2019","updated_at":"il y a 3 mois","order":8,"published":1,"parent_id":2,"image_une":{"id":1842,"ext":"png","name":"1547480232-travelogue-pic.png","alt":"travelogue pic","description":null,"mediatable_id":1547,"order":1,"type":"une","mediatable_type":"App\\Article","created_at":"2019-01-14 15:37:12","updated_at":"2019-01-14 15:37:12","width":1599,"height":1200},"date":null,"tracklist":null,"mixcloud_show_url":null,"link":null,"facebook":null,"twitter":null,"instagram":null,"related_article_id":null,"start_hour":"","end_hour":"","mp3_file":null,"recommended":0,"intro":null,"soundcloud":null,"mixcloud":null,"bandcamp":null,"title":"Travelogue","text":"Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. \r\nIn the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. \r\nBram De Cock","slug":"travelogue-1","serie":null,"the_tags":[],"translations":[{"id":1547,"article_id":1547,"locale":"en","title":"Travelogue","slug":"travelogue-1","intro":null,"text":"Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. \r\nIn the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. \r\nBram De Cock"}]},"the_tags":[{"id":13,"parent_id":1,"created_at":"2017-11-13 13:59:45","updated_at":"2017-11-13 13:59:45","order":0,"name":"ethnomusicology","slug":"ethnomusicology","pivot":{"article_id":1725,"tag_id":13,"created_at":"2019-03-13 11:59:15","updated_at":"2019-03-13 11:59:15"},"translations":[{"id":13,"tag_id":13,"locale":"en","name":"ethnomusicology","slug":"ethnomusicology"}]},{"id":30,"parent_id":1,"created_at":"2017-11-13 15:37:00","updated_at":"2017-11-13 15:37:00","order":0,"name":"folk","slug":"folk","pivot":{"article_id":1725,"tag_id":30,"created_at":"2019-03-13 11:59:15","updated_at":"2019-03-13 11:59:15"},"translations":[{"id":30,"tag_id":30,"locale":"en","name":"folk","slug":"folk"}]},{"id":83,"parent_id":1,"created_at":"2017-12-02 20:29:23","updated_at":"2017-12-02 20:29:23","order":0,"name":"world","slug":"world","pivot":{"article_id":1725,"tag_id":83,"created_at":"2019-03-13 11:59:15","updated_at":"2019-03-13 11:59:15"},"translations":[{"id":83,"tag_id":83,"locale":"en","name":"world","slug":"world"}]}],"translations":[{"id":1725,"article_id":1725,"locale":"en","title":"Travelogue","slug":"travelogue-3","intro":null,"text":"Travelogue presents a selection of traditional folk music from around the world, recorded and documented by field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Mongolia, New Guinea, Yemen, Togo, Cameroon, Portugal and Mexico.\r\n\r\n> Tserendavaa & Tsogtgerel: Chants Diphoniques de l'Alta\u00ef Mongol\/X\u00f6\u00f6mij overtone singing from Mongolia (cd, Buda Records, 2008) \r\n\r\nTserendavaa (\u00b01954) and his son Tsogtgerel (\u00b01990) are virtuous exponents of Western-Mongolian overtone singing (x\u00f6\u00f6mij), the technique of overlaying two sounds with one's own voice, basically singing a drone in a normal voice onto which a second harmonic voice is layered, one or more octaves below or above the fundamental tone. The songs are sung either accapella or accompanied by the two-string fiddles moriin xuur and ekel, or the two stringed tovshuur lute.\r\nRecorded by Johanni Curtet, 2007\r\n\r\n* Mongol gerin magtaal\r\n* Xumun torlogton\r\n* Baltchin xerin yavdal\r\n* D\u00f6rv\u00f6n x\u00f6\u00f6mijnii t\u00f6r\u00f6l\r\n* Airxinii shog\r\n* Xoer Altai nutag\r\n\r\n> Sacred flute music from New Guinea: Madang\/Windim Mambu (2cd, Editions Mego, 2016)\r\n\r\nIn Papua New Guinea, only adult men are allowed to make, own and blow flutes and in specific ritual contexts, meant to invoke the presence of the spirits. Flute blowing happens on different occasions, for male initiations, intervillage feasts, sago harvests, births, marriages and deaths. The play is generally accompanied with percussion: with garamuts (wooden slit gongs, used to send out messages over long distances), kundus (hand drums) or shell rattles. These bamboo flutes are always made and played in pairs, the longer flute being the male and the shorter flute, the female.\r\nRecorded by Ragnar Johnson & Jessica Mayer in 1976. Originally released as two separate vinyl albums in 1977 and 1979 on Quartz Publications. Re-released on two separate cds in 1999 on Rounder Records. Songs taken from a new double CD release on Editions Mego.\r\n\r\n* Windim Mambu: Mo-Mo\r\n* Windim Mambu: Rumu\r\n* Sacred Flute: Mo-Mo\r\n\r\n> Y\u00e9men: musiques du coeur de l'Arabie. (cd, Buda Records, 2002)\r\n\r\nA cross-section of folk music as heard in the city of Sanaa and around the country. Featured instruments are the Sanaa-'\u00fbd, the most ancient lute in the Arab world, the semsemiya and tambura lyres (amongst the oldest instruments in Yemen), the ney flute, violin, qanun zither and different types of cylindric, frame and kettle drums. Sounds from the mafraj, a music salon where men meet in the afternoon to enjoy sung and instrumental music and the exhilarating effects of chewing q\u00e2t-leaves. \r\nRecorded by Jean-Christophe Girard, 1999\r\n\r\n* Hassan Aoni al-'Ajami (Chant et 'ud de Sanaa - Sanaa)\r\n* Mohamed al-Kouek (lyre tambura - Zabid)\r\n* Orchestre De Pecheurs (Al-khawkhah)\r\n* Kamilia Anbar Yakout (Chant Solo) et Son Orchestra (Lahej)\r\n\r\n> Togo. Music from West-Africa (cd, Rounder, 1992)\r\n\r\nAn exceptionally diversified compilation of traditional Togolese music. Praise songs to traditional rulers; a couple of songs by Houwenema, the famous griot of Pagouda, plucking his single stringed lute; funeral songs by a female group; proverbial songs adressing quarrelsome women and songs about the nightly devourers of the soul...\r\nRecorded by Dan Kahn and Bill Nowlin, 1977. Originally released on vinyl in 1978.\r\n\r\n* Akofa Akoussah: Mitoe Ne Ayehawo\r\n* Houwenema: Kasa Bu\r\n* Ali Bawa: Ki Man Wo\r\n* Les Femmes Pleureuses De Klo Mayondi: Drodope\r\n* Flutistes Kotokoli: Instrumental\r\n\r\n> Cameroun. Fl\u00fbtes des Monts Mandara. (cd, Ocora, 1996)\r\n\r\nRitual and profane music from the animist peoples of the mountains and the plains of Cameroon's Northernmost Province, including the Mofou, Mofou-Goudour, Mouyang and Ould\u00e9m\u00e9. In the Mandara mountains, the musical instruments used depend on the agrarian cycle, e.g. the growing of millet or the feast of the bull. In the plains, music accompanies different stages in an individual's life or in that of the group: the birth of twins, initiation, hunting, war, mourning, entertainment. Aerophones predominate, especially flutes from bamboo, reed, wood, bark, horn, clay or shell.\r\nRecorded by Nathalie Fernando & Fabrice Marandola, 1994-96.\r\n\r\n* Ould\u00e9m\u00e9 du village de Dibon: Ch\u00e8k I Massakal [Monts Mandara]\r\n* Ould\u00e9m\u00e9 du village de Dibon: Mebaga Andj\u00e9gu\u00e9 [Monts Mandara]\r\n* Ould\u00e9m\u00e9 du village de Dibon: Zavan [Monts Mandara]\r\n* Ould\u00e9m\u00e9 du village de Dibon: Ch\u00e8k I Vendelar [Monts Mandara]\r\n* Mofou du village de Zob: Walay Douroum [Monts Mandara]\r\n\r\n> Portugal. Tr\u00e1s-os-Montes. Chants du bl\u00e9 et cornemuses de berger. (cd, Ocora, 1993)\r\n\r\nSongs about the cultivation of cereals (called romances) and sheep rearing (with the shepherd's bagpipe) from Portugal's isolated, poor, rural Northeastern province Tr\u00e1s-os-Montes. Apart from accompanying the threshing of wheat, shelling the almonds, husking the maize, grinding the flour, lulling the babies or as a distracting watching the flocks, the singing of romances divides the days of mowing into time sequences: a different romance is sung at each of as many as seven times a day. Apart from the flute, the bagpipe (gaita de foles, made of a goatskin bag, two independent pipes and a long drone-pipe) is the only melodic instrument, probably a distant relic of Portugal's Celtic culture.\r\nRecorded by Anne Caufriez, 1978. Reissue on cd of the vinyl LP from 1980.\r\n\r\n* Maria Helena Ventura: Roro\r\n* Augustinho Garido Brazo: Fandango\r\n* Virg\u00edlio Augusto Cristal: O Redondo\r\n* Ad\u00e9lia Garcia: A Fonte Do Salgueirinho\r\n* Paulinho Pereira Jo\u00e3o: Jota\r\n* Paulinho Pereira Jo\u00e3o, Alfredo Falc\u00e3o, & Paulinho Jos\u00e9 Raposo Oliveira: Fandango\r\n* Virg\u00edlio Augusto Cristal: Alvorada\r\n\r\n> Bats'i Son. The music of the highlands of Chiapas, Mexico. (cd, Latitude, 2004)\r\n\r\nDigitally restored, edited and remastered versions of recordings by the American sound engineer Richard Alderson, who had worked before for free jazzers like Albert Ayler and Ornette Coleman and Bob Dylan and Harry Belafonte. Anderson lived for five years in San Cristobal, Chiapas, Mexico where he started to record the local music traditions of various ethnic groups like the Chamula, Zinacantecos, Tzeltal, Ch'ol... Between constant exploding fireworks, you can hear music drawing from prehispanic traditions based on flute & drum play and Spanish colonial music based on guitar, violin, maracas, harp and trumpets. Music to celebrate carnival, the powers of the jaguar, the birth of Christ and other Catholic feasts and rituals.\r\nRecordings: Richard Alderson, 1971-74, originally issued on two Folkways vinyl records.\r\n\r\n* Flute And Drums-Tenango (Tzeltal)\r\n* Carnival - Chalchihuit\u00e1n (Tzotzil)\r\n* Navidad-Mitontik (Tzotzil)\r\n* Fiesta De San Bartolo-Venustiano Carranza (Tzotzil)\r\n* Navidad-Mitontik - Bolom Chon (Jaguar Song) (Tzotzil)\r\n* Son De Carnival-Majosik\r\n* Fiesta De Santa Lucia (Ch'ol)\r\n* Danza De Mujeres-Tenejapa"}]},{"id":1641,"created_at":"08.02.2019","updated_at":"il y a 2 mois","order":205,"published":1,"parent_id":1,"image_une":{"id":1951,"ext":"jpg","name":"1549663921-wajapi-5.jpg","alt":"wajapi_5","description":null,"mediatable_id":1641,"order":null,"type":"une","mediatable_type":"App\\Article","created_at":"2019-02-08 22:12:01","updated_at":"2019-02-08 22:16:24","width":1600,"height":1200},"date":"08.02.2019","tracklist":null,"mixcloud_show_url":"https:\/\/www.mixcloud.com\/TheWordMagazine\/travelogue-08022019\/","link":null,"facebook":null,"twitter":null,"instagram":null,"related_article_id":1547,"start_hour":"","end_hour":"","mp3_file":null,"recommended":0,"intro":null,"soundcloud":null,"mixcloud":null,"bandcamp":null,"title":"Travelogue","text":"Travelogue pays tribute to global traditional folk music, focussing on the work of field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Vietnam, Gabon, French Guiana, Jordan, Iran, Italy and Ha\u00efti.\r\n\r\nVi\u00eatnam: anthologie de la musique \u00ead\u00ea (cd, Buda Musique, 2000)\r\nA collection of songs of the \u00cad\u00ea people from the Dak Lak plateau in Vietnam. Each instrumental or vocal form is meant to accompany one ritual or another, following the calendar of seasonal works or occasional events (the first rain, the new rice harvest, the new year, building a house, funerals...).\r\n\r\nRecorded by Patrick Bersal\u00e9, 1997-98.\r\n- Ama Nu\u00ean: Cithare sur calebasse (Bro')\r\n- Y-Yoi Hwing: Guimbarde\r\n- Y\u0103 H'Riu: A\u00ea R\u00eai\r\n- Y\u0103 H'Ph\u0169t: Souffler Les Tuyaux En Chantant Le A\u00ea R\u00eai\r\n- Y\u0103 H'Riu: Sangloter\r\n- Ama Nu\u00ean, Ama W\u01a1n & Ama H'Nga: Polyrithmie de bambous percut\u00e9s (Cing Kram)\r\n- Peuple \u00cad\u00ea: Ensemble de gongs - Salutation aux invit\u00e9s\r\n\r\nGabon. Musiques des pygm\u00e9es Bibayak\/chantres de l'\u00e9pop\u00e9e (cd, Ocora, 1989)\r\nVocal polyphonies of the Bibayak pygmies of Gabon, who call themselves Baka Bambuk\u00e9. The music erupts in a broken vocalizing of pure sounds, a technique known as 'yodeling', mostly reserved for women (while men are assigned to percussion and dance). These polyphonies can hold up to 8 voices, entering successively, adjusting to one another in canons and imitations.\r\n\r\nRecorded by Pierre Sall\u00e9e, 1966 & 1973.\r\n- baka bambuk\u00e9:: s\u00e9quences polyphoniques: a) 5 voix et tambour b) et c) choeur et percussions\r\n- baka bambuk\u00e9: s\u00e9quences polyphoniques: suite\r\n- baka bambuk\u00e9: mebasi - jeu vocal (a,b)\r\n\r\nWay\u0101pi de Guyane. Un visage sonore d'Amazonie (cd, Le chant du monde, 1998)\r\nThe Way\u00e3pi, totalling around 1000 people, live in the Amazon rainforests of northeastern Brasil\r\nand southern French Guiana. Their repetitive music is inseparable from the natural\r\nenvironment, reaffirming the pleasure of living, celebrating fish, birds, maize, dragonflies,\r\nmanioc beer... Apart from different types of panpipes and the sounds of rubbed turtle-shells, the\r\nlow, rough sounds of the 'tule', large unisono clarinets made of reeds and bamboo tubes,\r\nwithout finger-holes, are remarkable here.\r\n\r\nRecordings: Jean-Michel Beaudet, 1977, 1978, 1979, 1981, 1995\r\n- For\u00eat, le matin\r\n- So' ok\u0101nge - Solo de fl\u00fbte en os \u00e0 encoche\r\n- Kasili - \"La Bi\u00e8re de Manioc\" (Fl\u00fbte de Pan et Carapace de Tortue frott\u00e9e)\r\n- R\u00e9pertoire Tulekalan\u0101 - \"Ton village mon amour !\"\r\n- Tasia - r\u00e9pertoire Pilatule \"La danse des poissons\"\r\n- R\u00e9pertoire Moyotule - \"Le Toucan\"\r\n\r\nInedit: Jordanie. Chants b\u00e9doins, Chants de mariage, Chants des p\u00eacheurs d'Aqaba (cd,\r\nMaison des cultures du monde, 1998)\r\nSinging is considered the most genuine expression of Jordanian life; the instruments generally\r\nplay a secondary role, and those which are used imitate the sound of the human voice. Popular\r\ninstruments are the one stringed bowed lute (reb\u00e2b), the flute (n\u00e2y), the ten stringed lyre\r\n(simsimiya) and hand clapping (sahja) or feet stamping (dabkeh).\r\n\r\nRecorded by Pierre Bois, 1997\r\n- Jamal Khleif: Dahiya, samer (Chant B\u00e9douin)\r\n- Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Ya Shajirat Al-tufah (Chant de\r\nMariage)\r\n- Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Men Al-sabah L-al-'asr (Chant\r\nde Mariage)\r\n- Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: 'Alhajr Barra (Chant de Mariage)\r\n- Sufian Jaser Eid, Ayman Bashir al-Yamani, Muhammad'Abed Al Salh\u00een, Isma'il Mahmud\r\nAbu'Awali, Eid Abbas Muhammad Kayyal: Mawwal, Ughniya (Chant de P\u00eacheur)\r\n\r\nIran: Bardes du Khorassan - Chants et luth dot\u00e2r (cd, Ocora, 1998)\r\nKhorassan is Iran's extreme north-eastern province, highly ethnically diverse, with Persians,\r\nTurks and Kurds being the most important peoples. Bakhshi or bards are story-tellers,\r\ncustodians of epic chant and legends who accompany themselves on hand-made two-stringed,\r\nlong-necked lutes, the dot\u00e2r. They're trained to pass on a repertoire of songs of an amorous,\r\ndidactic, religious or patriotic nature, that comes from oral tradition, sung in Turkish, Persian or\r\nKurdish.\r\n\r\nRecorded by Ameneh Youssefzadeh, 1997\r\n- Mohammad Yeg\u00e2ne: J\u00e2n nes\u00e2r\r\n- H\u00e2j Qorb\u00e2n Soleym\u00e2ni: Jabb\u00e2r\r\n- Golnab\u00e2t At\u00e2'i: Sakine\r\n- Is\u00e2 Qolipur: Oldurme\r\n\r\nItalian Treasury: Puglia - The Salento (cd, Rounder, 2002)\r\nFrom a series of 11 well researched cds with outstanding recordings made by the famous\r\nAmerican ethnomusicologist Alan Lomax of the folk music traditions of Italy in the 1950s, this\r\ncompilation focusses on the Salento, the southeastern-most tip of Italy's heel in the province of\r\ndry, rural Apulia. Songs about harvesting, threshing wheat, love and 'tarantismo', a form of\r\nmusical therapy practiced by peasant women to cure the bite of the venomous tarantula-spider.\r\n\r\nRecorded by Alan Lomax & Diego Carpitella, 1954\r\n- Martano: A dove vai bella fanciulla?\r\n- Galatone: Lu Lazzaru\r\n- Martano: Stornelli\r\n- Gallipoli: Sutt'acqua e sutta iento navigamu\r\n- Galatone: E malidettu lu Cinquanta\r\n- Galatone: Pizzica\r\n- Galatone: Ninnarella\r\n\r\nHa\u00efti: Les 101 Nations Du Vaudou (cd, Buda Musique, 2005)\r\nIn the world of Haitian voodoo, there are 101 'nations', or families of deities (also called\r\nmysteries, 'loas', saints or angels), which are often named after African tribes or ethnic groups\r\nfrom where the imported slaves into the country originally came from. This cd captures the\r\nmusic of several ceremonies led by high priest and master percussionist Pierre Ch\u00e9riza and his\r\nensemble.\r\n\r\nRecorded by Luc Candardjis.\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Ouvre Bary\u00e9\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Signale Agouet Aroyo\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Rythme Rassemblement\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Rythme Mahi\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Rythme Petro","slug":"travelogue-2","serie":{"id":1547,"created_at":"10.01.2019","updated_at":"il y a 3 mois","order":8,"published":1,"parent_id":2,"image_une":{"id":1842,"ext":"png","name":"1547480232-travelogue-pic.png","alt":"travelogue pic","description":null,"mediatable_id":1547,"order":1,"type":"une","mediatable_type":"App\\Article","created_at":"2019-01-14 15:37:12","updated_at":"2019-01-14 15:37:12","width":1599,"height":1200},"date":null,"tracklist":null,"mixcloud_show_url":null,"link":null,"facebook":null,"twitter":null,"instagram":null,"related_article_id":null,"start_hour":"","end_hour":"","mp3_file":null,"recommended":0,"intro":null,"soundcloud":null,"mixcloud":null,"bandcamp":null,"title":"Travelogue","text":"Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. \r\nIn the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. \r\nBram De Cock","slug":"travelogue-1","serie":null,"the_tags":[],"translations":[{"id":1547,"article_id":1547,"locale":"en","title":"Travelogue","slug":"travelogue-1","intro":null,"text":"Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. \r\nIn the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. \r\nBram De Cock"}]},"the_tags":[{"id":13,"parent_id":1,"created_at":"2017-11-13 13:59:45","updated_at":"2017-11-13 13:59:45","order":0,"name":"ethnomusicology","slug":"ethnomusicology","pivot":{"article_id":1641,"tag_id":13,"created_at":"2019-02-09 17:53:59","updated_at":"2019-02-09 17:53:59"},"translations":[{"id":13,"tag_id":13,"locale":"en","name":"ethnomusicology","slug":"ethnomusicology"}]},{"id":225,"parent_id":1,"created_at":"2018-01-29 09:21:46","updated_at":"2018-01-29 09:21:46","order":0,"name":"field recordings","slug":"field-recordings","pivot":{"article_id":1641,"tag_id":225,"created_at":"2019-02-09 17:53:59","updated_at":"2019-02-09 17:53:59"},"translations":[{"id":225,"tag_id":225,"locale":"en","name":"field recordings","slug":"field-recordings"}]}],"translations":[{"id":1641,"article_id":1641,"locale":"en","title":"Travelogue","slug":"travelogue-2","intro":null,"text":"Travelogue pays tribute to global traditional folk music, focussing on the work of field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Vietnam, Gabon, French Guiana, Jordan, Iran, Italy and Ha\u00efti.\r\n\r\nVi\u00eatnam: anthologie de la musique \u00ead\u00ea (cd, Buda Musique, 2000)\r\nA collection of songs of the \u00cad\u00ea people from the Dak Lak plateau in Vietnam. Each instrumental or vocal form is meant to accompany one ritual or another, following the calendar of seasonal works or occasional events (the first rain, the new rice harvest, the new year, building a house, funerals...).\r\n\r\nRecorded by Patrick Bersal\u00e9, 1997-98.\r\n- Ama Nu\u00ean: Cithare sur calebasse (Bro')\r\n- Y-Yoi Hwing: Guimbarde\r\n- Y\u0103 H'Riu: A\u00ea R\u00eai\r\n- Y\u0103 H'Ph\u0169t: Souffler Les Tuyaux En Chantant Le A\u00ea R\u00eai\r\n- Y\u0103 H'Riu: Sangloter\r\n- Ama Nu\u00ean, Ama W\u01a1n & Ama H'Nga: Polyrithmie de bambous percut\u00e9s (Cing Kram)\r\n- Peuple \u00cad\u00ea: Ensemble de gongs - Salutation aux invit\u00e9s\r\n\r\nGabon. Musiques des pygm\u00e9es Bibayak\/chantres de l'\u00e9pop\u00e9e (cd, Ocora, 1989)\r\nVocal polyphonies of the Bibayak pygmies of Gabon, who call themselves Baka Bambuk\u00e9. The music erupts in a broken vocalizing of pure sounds, a technique known as 'yodeling', mostly reserved for women (while men are assigned to percussion and dance). These polyphonies can hold up to 8 voices, entering successively, adjusting to one another in canons and imitations.\r\n\r\nRecorded by Pierre Sall\u00e9e, 1966 & 1973.\r\n- baka bambuk\u00e9:: s\u00e9quences polyphoniques: a) 5 voix et tambour b) et c) choeur et percussions\r\n- baka bambuk\u00e9: s\u00e9quences polyphoniques: suite\r\n- baka bambuk\u00e9: mebasi - jeu vocal (a,b)\r\n\r\nWay\u0101pi de Guyane. Un visage sonore d'Amazonie (cd, Le chant du monde, 1998)\r\nThe Way\u00e3pi, totalling around 1000 people, live in the Amazon rainforests of northeastern Brasil\r\nand southern French Guiana. Their repetitive music is inseparable from the natural\r\nenvironment, reaffirming the pleasure of living, celebrating fish, birds, maize, dragonflies,\r\nmanioc beer... Apart from different types of panpipes and the sounds of rubbed turtle-shells, the\r\nlow, rough sounds of the 'tule', large unisono clarinets made of reeds and bamboo tubes,\r\nwithout finger-holes, are remarkable here.\r\n\r\nRecordings: Jean-Michel Beaudet, 1977, 1978, 1979, 1981, 1995\r\n- For\u00eat, le matin\r\n- So' ok\u0101nge - Solo de fl\u00fbte en os \u00e0 encoche\r\n- Kasili - \"La Bi\u00e8re de Manioc\" (Fl\u00fbte de Pan et Carapace de Tortue frott\u00e9e)\r\n- R\u00e9pertoire Tulekalan\u0101 - \"Ton village mon amour !\"\r\n- Tasia - r\u00e9pertoire Pilatule \"La danse des poissons\"\r\n- R\u00e9pertoire Moyotule - \"Le Toucan\"\r\n\r\nInedit: Jordanie. Chants b\u00e9doins, Chants de mariage, Chants des p\u00eacheurs d'Aqaba (cd,\r\nMaison des cultures du monde, 1998)\r\nSinging is considered the most genuine expression of Jordanian life; the instruments generally\r\nplay a secondary role, and those which are used imitate the sound of the human voice. Popular\r\ninstruments are the one stringed bowed lute (reb\u00e2b), the flute (n\u00e2y), the ten stringed lyre\r\n(simsimiya) and hand clapping (sahja) or feet stamping (dabkeh).\r\n\r\nRecorded by Pierre Bois, 1997\r\n- Jamal Khleif: Dahiya, samer (Chant B\u00e9douin)\r\n- Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Ya Shajirat Al-tufah (Chant de\r\nMariage)\r\n- Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Men Al-sabah L-al-'asr (Chant\r\nde Mariage)\r\n- Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: 'Alhajr Barra (Chant de Mariage)\r\n- Sufian Jaser Eid, Ayman Bashir al-Yamani, Muhammad'Abed Al Salh\u00een, Isma'il Mahmud\r\nAbu'Awali, Eid Abbas Muhammad Kayyal: Mawwal, Ughniya (Chant de P\u00eacheur)\r\n\r\nIran: Bardes du Khorassan - Chants et luth dot\u00e2r (cd, Ocora, 1998)\r\nKhorassan is Iran's extreme north-eastern province, highly ethnically diverse, with Persians,\r\nTurks and Kurds being the most important peoples. Bakhshi or bards are story-tellers,\r\ncustodians of epic chant and legends who accompany themselves on hand-made two-stringed,\r\nlong-necked lutes, the dot\u00e2r. They're trained to pass on a repertoire of songs of an amorous,\r\ndidactic, religious or patriotic nature, that comes from oral tradition, sung in Turkish, Persian or\r\nKurdish.\r\n\r\nRecorded by Ameneh Youssefzadeh, 1997\r\n- Mohammad Yeg\u00e2ne: J\u00e2n nes\u00e2r\r\n- H\u00e2j Qorb\u00e2n Soleym\u00e2ni: Jabb\u00e2r\r\n- Golnab\u00e2t At\u00e2'i: Sakine\r\n- Is\u00e2 Qolipur: Oldurme\r\n\r\nItalian Treasury: Puglia - The Salento (cd, Rounder, 2002)\r\nFrom a series of 11 well researched cds with outstanding recordings made by the famous\r\nAmerican ethnomusicologist Alan Lomax of the folk music traditions of Italy in the 1950s, this\r\ncompilation focusses on the Salento, the southeastern-most tip of Italy's heel in the province of\r\ndry, rural Apulia. Songs about harvesting, threshing wheat, love and 'tarantismo', a form of\r\nmusical therapy practiced by peasant women to cure the bite of the venomous tarantula-spider.\r\n\r\nRecorded by Alan Lomax & Diego Carpitella, 1954\r\n- Martano: A dove vai bella fanciulla?\r\n- Galatone: Lu Lazzaru\r\n- Martano: Stornelli\r\n- Gallipoli: Sutt'acqua e sutta iento navigamu\r\n- Galatone: E malidettu lu Cinquanta\r\n- Galatone: Pizzica\r\n- Galatone: Ninnarella\r\n\r\nHa\u00efti: Les 101 Nations Du Vaudou (cd, Buda Musique, 2005)\r\nIn the world of Haitian voodoo, there are 101 'nations', or families of deities (also called\r\nmysteries, 'loas', saints or angels), which are often named after African tribes or ethnic groups\r\nfrom where the imported slaves into the country originally came from. This cd captures the\r\nmusic of several ceremonies led by high priest and master percussionist Pierre Ch\u00e9riza and his\r\nensemble.\r\n\r\nRecorded by Luc Candardjis.\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Ouvre Bary\u00e9\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Signale Agouet Aroyo\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Rythme Rassemblement\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Rythme Mahi\r\n- Pierre Ch\u00e9riza F\u00e8n\u00e8lus e.a.: Rythme Petro"}]},{"id":1546,"created_at":"10.01.2019","updated_at":"il y a 1 mois","order":296,"published":1,"parent_id":1,"image_une":{"id":1841,"ext":"png","name":"1547480125-travelogue01-pic.png","alt":"travelogue01 pic","description":null,"mediatable_id":1546,"order":1,"type":"une","mediatable_type":"App\\Article","created_at":"2019-01-14 15:35:25","updated_at":"2019-01-14 15:35:25","width":1600,"height":1200},"date":"11.01.2019","tracklist":"**Uchina: sounds of Okinawa Island (Winter & Winter, 2013)**\r\n\r\nA selection of songs from the Japanese island of Okinawa, talking about logging, harvest, the ocean and love. Remarkable instruments here are: sanshin (a three stringed lute with a snake skin body) and taiko (drums, e.g. shime-daiko). Recorded by Stefan Winter (2011) & Senri Miyazato (nr 2, 1981).\r\n\r\n* 1\/ Deigo Musume: kunjansabakui \r\n* 2\/ Festival voices: miyako nishibe yukui: michiyuki yonteru\r\n* 3\/ Keiko Higa & shimadaiko: nami \r\n* 4\/ Hajime Nakasone: amakaa\r\n\r\n**Kenya & Tanzania: witchcraft & ritual music (Nonesuch, 1975\/1991)**\r\n\r\nMusic from the Lamu, Giriama, Taita and Luo tribes of Kenya, used as medicine in witchcraft practices. Healing sounds from drums, the uta (one stringed harp), the nyatiti (eight stringed harp) and blowing the bung'o (horn).\r\nRecorded by David Fanshawe.\r\n\r\n* 5\/ unknown: nyatiti (Luo, Kenya) \r\n* 6\/ unknown: coconut pickers song (Lamu, Kenya)\r\n* 7\/ unknown: giriama spirit dance (Giriama, Kenya) \r\n* 8\/ unknown: ngoma ra mrongo (Taita, Kenya)\r\n* 9\/ kayamba dance: giriama wedding (Giriama, Kenya)\r\n\r\n**Tombe Ditumba: Musique des Luba-Shankadi du Shaba - Za\u00efre (MRAC\/Fonti Musicali, 1994)**\r\n\r\nDifferent samples of music from the Luba-Shankadi tribe of south-Congo (Kasai & Shaba provinces), related to hunting, dancing, work, birth, hospitality on specific instruments like the dikembe (thumb piano), madimba (xylophone), lusuba (mouth bow). \r\nRecorded by Jos Gansemans of the Royal Museum of Central Africa, Brussels in 1970, 1972 & 1973.\r\n\r\n* 10\/ unknown: chant de chasse buyanga \r\n* 11\/ unknown: chant pour piler le manioc\r\n* 12\/ unknown: chant pour les jumeaux mapasa\r\n* 13\/ unknown: chant narratif \r\n* 14\/ unknown: danse matolo\r\n* 15\/ unknown: duo de dikembe\r\n* 16\/ unknown: arc \u00e0 bouche lusuba\r\n* 17\/ unknown: berceuse \r\n\r\n**Gr\u00e8ce. Paralogues. Chants traditionnels (Ocora, 2006)**\r\n\r\nParalogues are traditional Greek narrative songs of epic nature, drawing from popular beliefs, everyday life and ancient myths. The selected songs talk about an evil mother-in-law; the Triha bridge; a young stone cutter who has only one hand; a bridesmade who became a bride and the return of an expatriate husband. \r\nRecorded by Greek national radio, 2005.\r\n\r\n* 18\/ Nikos Papavramides & chorus: kakia pethera (Pontos, Black Sea)\r\n* 19\/ Eleni Bairaktaris-Kotalakidi, Christos Bairaktaris & chorus: tis trihas to giofyri (Pontos, Black Sea)\r\n* 20\/ Doras Stratou choir: agourous petra peleka (Skyros Island)\r\n* 21\/ Savas Siatras: Tis Koubaras Pou Egine Nyfi\r\n* 22\/ D. Vagias, S. Kitsanelli, N. Sadedin, V. Gogos, V. Charisis & C. Litos: o gyrismos tou xenitemenou sizigou (Epirus)\r\n\r\n**Anadolu Ninnileri\/Anatolian Lullabies (Kalan, 2006)**\r\n\r\nLullabies (\"ninni\"), typically sung by mothers to soothe their children or put them to sleep, are one of the most characteristic genres within the musical culture of Anatolia (Turkey). They can be found across the various ethnic groups living in Anatolia, sung in languages other than Turkish, like Romani, Armenian, Judeo-Spanish, Sorani, Greek, Eastern Aramaic, Kurdish... \r\nCollected from archives by Kalan M\u00fczik, Melih Duygulu, Hasan Kuzu, Muammer Ketencoglu, Birol Topaloglu, Hadas Pal-Yarden.\r\n\r\n* 23\/ Melih Duygulu: Dandini Dandini Dasdana\r\n* 24\/ Muzaffer Akg\u00fcn: Adalardan Ciktim Yayan \r\n* 25\/ Tatyana Bostan: Bar bar genem \r\n* 26\/ Hadass Pal-Yarden: durme durme\r\n* 27\/ Ayfer D\u00fczdas: lay lay\r\n* 28\/ Sebnem Boral: zorik\r\n\r\n**Afghanistan untouched (Traditional Crossroads, 2003)**\r\n\r\nAfghanistan overflows with musical treasures; its lyrical instruments and haunting melodies are as astonishing in their variety and uniqueness as the ethnically dense country itself. An amazing collection of Tajik, Uzbek, Pashtun, Herati, Kazakh and Turkmen songs from a peaceful era, on instruments like dambura (long necked lute), doira (frame drum), zirbaghali (single headed pottery drum), ghichak (two-stringed fiddle) or dutar (long necked two-stringed lute) a.o.\r\nRecorded by Mark Slobin in 1968.\r\n\r\n* 29\/ Adam: Excerpt Of The Adam Khan Tale (Pashtun)\r\n* 30\/ Mohamed Qasem: Shirin, Shirin (Dutar Piece) (Herati)\r\n* 31\/ Khodai Qul: Guroghili Epic Tale Excerpt (Uzbek)\r\n* 32\/ Aq Pishak (w\/ Salaidin and Achel): Teahouse Songs (Uzbek)\r\n* 33\/ Adinabeg: Felak Song From Darwaz Region Of Badakhshan (Tajik)\r\n* 34\/ Zulaikha & Gulandam: Women's Wedding Song (Uzbek)","mixcloud_show_url":"https:\/\/www.mixcloud.com\/TheWordMagazine\/travelogue-11012019\/","link":null,"facebook":null,"twitter":null,"instagram":null,"related_article_id":1547,"start_hour":"15:00","end_hour":"","mp3_file":null,"recommended":0,"intro":"Travelogue, one of the newest addition to our team of residents, pays tribute to global traditional folk music, focusing on field recordists, ethnomusicologists and intrepid music collectors from Japan, Kenya, Tanzania, Turkey and Afghanistan.","soundcloud":null,"mixcloud":null,"bandcamp":null,"title":"Travelogue","text":"Travelogue, one of the newest additions to our team of residents, pays tribute to global traditional folk music, focussing on the work of field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Japan, Kenya, Congo, Greece, Turkey and Afghanistan!","slug":"travelogue","serie":{"id":1547,"created_at":"10.01.2019","updated_at":"il y a 3 mois","order":8,"published":1,"parent_id":2,"image_une":{"id":1842,"ext":"png","name":"1547480232-travelogue-pic.png","alt":"travelogue pic","description":null,"mediatable_id":1547,"order":1,"type":"une","mediatable_type":"App\\Article","created_at":"2019-01-14 15:37:12","updated_at":"2019-01-14 15:37:12","width":1599,"height":1200},"date":null,"tracklist":null,"mixcloud_show_url":null,"link":null,"facebook":null,"twitter":null,"instagram":null,"related_article_id":null,"start_hour":"","end_hour":"","mp3_file":null,"recommended":0,"intro":null,"soundcloud":null,"mixcloud":null,"bandcamp":null,"title":"Travelogue","text":"Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. \r\nIn the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. \r\nBram De Cock","slug":"travelogue-1","serie":null,"the_tags":[],"translations":[{"id":1547,"article_id":1547,"locale":"en","title":"Travelogue","slug":"travelogue-1","intro":null,"text":"Travelogue presents traditional, acoustic folk music from around the world, by focussing in depth on outstanding records (vinyl & cd), released by specialised labels, ethnographic museums, radio stations and cultural institutions that record, collect and study the musical traditions of (indigenous) peoples and societies from all corners of the globe. This often endangered music is part of the intangible cultural heritage of mankind and needs to be preserved for future generations, as a celebration of cultural diversity, creativity and inventiveness. \r\nIn the tremendously vast field of folk music we travel in the footsteps of renowned music collectors and ethnomusicologists, whose aim was not only to study the structure of traditional music, instruments and vocal traditions, but to show also that in many societies, music is not an independent art form to be enjoyed for its own sake, but an integral part of the culture. In traditional societies, music accompanies every human activity, from the cradle to the grave. \r\nBram De Cock"}]},"the_tags":[{"id":13,"parent_id":1,"created_at":"2017-11-13 13:59:45","updated_at":"2017-11-13 13:59:45","order":0,"name":"ethnomusicology","slug":"ethnomusicology","pivot":{"article_id":1546,"tag_id":13,"created_at":"2019-03-13 12:00:34","updated_at":"2019-03-13 12:00:34"},"translations":[{"id":13,"tag_id":13,"locale":"en","name":"ethnomusicology","slug":"ethnomusicology"}]},{"id":30,"parent_id":1,"created_at":"2017-11-13 15:37:00","updated_at":"2017-11-13 15:37:00","order":0,"name":"folk","slug":"folk","pivot":{"article_id":1546,"tag_id":30,"created_at":"2019-03-13 12:00:34","updated_at":"2019-03-13 12:00:34"},"translations":[{"id":30,"tag_id":30,"locale":"en","name":"folk","slug":"folk"}]},{"id":150,"parent_id":1,"created_at":"2017-12-22 20:08:59","updated_at":"2017-12-22 20:08:59","order":0,"name":"world music","slug":"world-music","pivot":{"article_id":1546,"tag_id":150,"created_at":"2019-03-13 12:00:34","updated_at":"2019-03-13 12:00:34"},"translations":[{"id":150,"tag_id":150,"locale":"en","name":"world music","slug":"world-music"}]}],"translations":[{"id":1546,"article_id":1546,"locale":"en","title":"Travelogue","slug":"travelogue","intro":"Travelogue, one of the newest addition to our team of residents, pays tribute to global traditional folk music, focusing on field recordists, ethnomusicologists and intrepid music collectors from Japan, Kenya, Tanzania, Turkey and Afghanistan.","text":"Travelogue, one of the newest additions to our team of residents, pays tribute to global traditional folk music, focussing on the work of field recordists, ethnomusicologists and intrepid music collectors. In this show, discover amazing music from Japan, Kenya, Congo, Greece, Turkey and Afghanistan!"}]}]