Travelogue

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. Viêtnam: anthologie de la musique êdê (cd, Buda Musique, 2000) 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...). Recorded by Patrick Bersalé, 1997-98. - Ama Nuên: Cithare sur calebasse (Bro') - Y-Yoi Hwing: Guimbarde - Yă H'Riu: Aê Rêi - Yă H'Phũt: Souffler Les Tuyaux En Chantant Le Aê Rêi - Yă H'Riu: Sangloter - Ama Nuên, Ama Wơn & Ama H'Nga: Polyrithmie de bambous percutés (Cing Kram) - Peuple Êdê: Ensemble de gongs - Salutation aux invités Gabon. Musiques des pygmées Bibayak/chantres de l'épopée (cd, Ocora, 1989) 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. Recorded by Pierre Sallée, 1966 & 1973. - baka bambuké:: séquences polyphoniques: a) 5 voix et tambour b) et c) choeur et percussions - baka bambuké: séquences polyphoniques: suite - baka bambuké: mebasi - jeu vocal (a,b) Wayāpi de Guyane. Un visage sonore d'Amazonie (cd, Le chant du monde, 1998) The Wayãpi, totalling around 1000 people, live in the Amazon rainforests of northeastern Brasil and southern French Guiana. Their repetitive music is inseparable from the natural environment, reaffirming the pleasure of living, celebrating fish, birds, maize, dragonflies, manioc beer... Apart from different types of panpipes and the sounds of rubbed turtle-shells, the low, rough sounds of the 'tule', large unisono clarinets made of reeds and bamboo tubes, without finger-holes, are remarkable here. Recordings: Jean-Michel Beaudet, 1977, 1978, 1979, 1981, 1995 - Forêt, le matin - So' okānge - Solo de flûte en os à encoche - Kasili - "La Bière de Manioc" (Flûte de Pan et Carapace de Tortue frottée) - Répertoire Tulekalanā - "Ton village mon amour !" - Tasia - répertoire Pilatule "La danse des poissons" - Répertoire Moyotule - "Le Toucan" Inedit: Jordanie. Chants bédoins, Chants de mariage, Chants des pêcheurs d'Aqaba (cd, Maison des cultures du monde, 1998) Singing is considered the most genuine expression of Jordanian life; the instruments generally play a secondary role, and those which are used imitate the sound of the human voice. Popular instruments are the one stringed bowed lute (rebâb), the flute (nây), the ten stringed lyre (simsimiya) and hand clapping (sahja) or feet stamping (dabkeh). Recorded by Pierre Bois, 1997 - Jamal Khleif: Dahiya, samer (Chant Bédouin) - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Ya Shajirat Al-tufah (Chant de Mariage) - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: Men Al-sabah L-al-'asr (Chant de Mariage) - Majdoulin Hattar, Aniseh Hattar, Rabita Hattar, Badiya Hattar: 'Alhajr Barra (Chant de Mariage) - Sufian Jaser Eid, Ayman Bashir al-Yamani, Muhammad'Abed Al Salhîn, Isma'il Mahmud Abu'Awali, Eid Abbas Muhammad Kayyal: Mawwal, Ughniya (Chant de Pêcheur) Iran: Bardes du Khorassan - Chants et luth dotâr (cd, Ocora, 1998) Khorassan is Iran's extreme north-eastern province, highly ethnically diverse, with Persians, Turks and Kurds being the most important peoples. Bakhshi or bards are story-tellers, custodians of epic chant and legends who accompany themselves on hand-made two-stringed, long-necked lutes, the dotâr. They're trained to pass on a repertoire of songs of an amorous, didactic, religious or patriotic nature, that comes from oral tradition, sung in Turkish, Persian or Kurdish. Recorded by Ameneh Youssefzadeh, 1997 - Mohammad Yegâne: Jân nesâr - Hâj Qorbân Soleymâni: Jabbâr - Golnabât Atâ'i: Sakine - Isâ Qolipur: Oldurme Italian Treasury: Puglia - The Salento (cd, Rounder, 2002) From a series of 11 well researched cds with outstanding recordings made by the famous American ethnomusicologist Alan Lomax of the folk music traditions of Italy in the 1950s, this compilation focusses on the Salento, the southeastern-most tip of Italy's heel in the province of dry, rural Apulia. Songs about harvesting, threshing wheat, love and 'tarantismo', a form of musical therapy practiced by peasant women to cure the bite of the venomous tarantula-spider. Recorded by Alan Lomax & Diego Carpitella, 1954 - Martano: A dove vai bella fanciulla? - Galatone: Lu Lazzaru - Martano: Stornelli - Gallipoli: Sutt'acqua e sutta iento navigamu - Galatone: E malidettu lu Cinquanta - Galatone: Pizzica - Galatone: Ninnarella Haïti: Les 101 Nations Du Vaudou (cd, Buda Musique, 2005) In the world of Haitian voodoo, there are 101 'nations', or families of deities (also called mysteries, 'loas', saints or angels), which are often named after African tribes or ethnic groups from where the imported slaves into the country originally came from. This cd captures the music of several ceremonies led by high priest and master percussionist Pierre Chériza and his ensemble. Recorded by Luc Candardjis. - Pierre Chériza Fènèlus e.a.: Ouvre Baryé - Pierre Chériza Fènèlus e.a.: Signale Agouet Aroyo - Pierre Chériza Fènèlus e.a.: Rythme Rassemblement - Pierre Chériza Fènèlus e.a.: Rythme Mahi - Pierre Chériza Fènèlus e.a.: Rythme Petro

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

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