Browse Titles - 16 results
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Afro-Dominican Music from San Cristobal, Dominican Republic
produced by Morton Marks, fl. 1982 and Isidro Bobadilla (Folkways Records, 1983), 37 mins
"The Dominican Republic is a culturally complex country and is roughly divisible into several different culture zones. These include the more Hispanic or Iberian North (the Cibao), and the more African-influenced central-South region (including the province of San Cristóbal and the area around the capital, Santo...
Sample
produced by Morton Marks, fl. 1982 and Isidro Bobadilla (Folkways Records, 1983), 37 mins
Description
"The Dominican Republic is a culturally complex country and is roughly divisible into several different culture zones. These include the more Hispanic or Iberian North (the Cibao), and the more African-influenced central-South region (including the province of San Cristóbal and the area around the capital, Santo Domingo). The music of this record features examples of several different drumming styles from San Cristóbal..."
"La República Domi... "The Dominican Republic is a culturally complex country and is roughly divisible into several different culture zones. These include the more Hispanic or Iberian North (the Cibao), and the more African-influenced central-South region (including the province of San Cristóbal and the area around the capital, Santo Domingo). The music of this record features examples of several different drumming styles from San Cristóbal..."
"La República Dominicana es un país culturalmente muy complejo, que puede ser divido a grandes rasgos en zonas culturales diferentes. Dentro de ellas se encuentran la más hispánica o ibérica hacia el norte (el Cibao), y la más africana hacia el sur de la región central (incluyendo a la provincia de San Cristóbal y toda el área que circunda la capital, Santo Domingo). La música recogida en esta grabación muestra ejemplos de diversos estilos de golpes de tambor de San Cristóbal..."
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"La República Domi... "The Dominican Republic is a culturally complex country and is roughly divisible into several different culture zones. These include the more Hispanic or Iberian North (the Cibao), and the more African-influenced central-South region (including the province of San Cristóbal and the area around the capital, Santo Domingo). The music of this record features examples of several different drumming styles from San Cristóbal..."
"La República Dominicana es un país culturalmente muy complejo, que puede ser divido a grandes rasgos en zonas culturales diferentes. Dentro de ellas se encuentran la más hispánica o ibérica hacia el norte (el Cibao), y la más africana hacia el sur de la región central (incluyendo a la provincia de San Cristóbal y toda el área que circunda la capital, Santo Domingo). La música recogida en esta grabación muestra ejemplos de diversos estilos de golpes de tambor de San Cristóbal..."
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Field of Study
World Music
Content Type
Music recording
Contributor
Morton Marks, fl. 1982, Isidro Bobadilla
Date Published / Released
1983
Publisher
Folkways Records
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Solo on the Pinqalyo / Sumirumansanisa
produced by Christos Clair-Vasiliades; in Amerindian Music of Chile: Aymara, Qaqashqar, Mapuche (Folkways Records, 1975), 2 mins
In Chile today there are three indigenous groups who are direct descendants from pre-Hispanic dwellers of America: the Aymara, the Qawashqar (also called Alakaluf), and the Mapuche (also called Araucanian). The Aymara inhabit the Andean mountains and Altiplano located in Chile’s two most northern provinces, Tar...
Sample
produced by Christos Clair-Vasiliades; in Amerindian Music of Chile: Aymara, Qaqashqar, Mapuche (Folkways Records, 1975), 2 mins
Description
In Chile today there are three indigenous groups who are direct descendants from pre-Hispanic dwellers of America: the Aymara, the Qawashqar (also called Alakaluf), and the Mapuche (also called Araucanian). The Aymara inhabit the Andean mountains and Altiplano located in Chile’s two most northern provinces, Tarapaca and Antofagasta; the Qawashqar are one of the oldest of the original inhabitants of the southernmost region of this planet, the T...
In Chile today there are three indigenous groups who are direct descendants from pre-Hispanic dwellers of America: the Aymara, the Qawashqar (also called Alakaluf), and the Mapuche (also called Araucanian). The Aymara inhabit the Andean mountains and Altiplano located in Chile’s two most northern provinces, Tarapaca and Antofagasta; the Qawashqar are one of the oldest of the original inhabitants of the southernmost region of this planet, the Tierra del Fuego; the Mapuche live mainly in the region called "the Frontier" or the "Araucania" in central Chile, located in the provinces of Malleco and Cantín.
En Chile existen tres grupos indígenas que son descendientes directos de los habitantes prehispánicos de América: los aymara, los qawashqar (también llamados alakaluf) y los mapuches (también llamados araucanos). Los aymara habitan las cumbre andinas y el altiplano localizados en Tarapaca y Antofagasta, las dos provincias chilenas que están ubicadas más al norte; los qawashqar son unos de los más antiguos habitantes de la región más austral del planeta, la Tierra de Fuego; los mapuche viven principalmente en la región llamada " la frontera" o la "Araucania" en el centro de Chile, localizada en las provincias de Malleco y Cantín.
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En Chile existen tres grupos indígenas que son descendientes directos de los habitantes prehispánicos de América: los aymara, los qawashqar (también llamados alakaluf) y los mapuches (también llamados araucanos). Los aymara habitan las cumbre andinas y el altiplano localizados en Tarapaca y Antofagasta, las dos provincias chilenas que están ubicadas más al norte; los qawashqar son unos de los más antiguos habitantes de la región más austral del planeta, la Tierra de Fuego; los mapuche viven principalmente en la región llamada " la frontera" o la "Araucania" en el centro de Chile, localizada en las provincias de Malleco y Cantín.
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Field of Study
World Music
Content Type
Music recording
Contributor
Christos Clair-Vasiliades
Date Published / Released
1975
Publisher
Folkways Records
Topic / Theme
Livestock
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Carnaval in Cuba
produced by Andrew Schloss (Folkways Records, 1981), 46 mins
As Andrew Schloss explains in the liner notes: “Carnaval has a history of mixing and uniting people of different races, and the merriment and participation in Carnaval has always transcended class boundaries”. Recorded in 1980 in Havana and Santiago de Cuba, Schloss note only captures the unique unifying exper...
Sample
produced by Andrew Schloss (Folkways Records, 1981), 46 mins
Description
As Andrew Schloss explains in the liner notes: “Carnaval has a history of mixing and uniting people of different races, and the merriment and participation in Carnaval has always transcended class boundaries”. Recorded in 1980 in Havana and Santiago de Cuba, Schloss note only captures the unique unifying experience that this celebration perpetuates, but also the vivacity of the Brazilian music which itself is a mélange of Portuguese, African...
As Andrew Schloss explains in the liner notes: “Carnaval has a history of mixing and uniting people of different races, and the merriment and participation in Carnaval has always transcended class boundaries”. Recorded in 1980 in Havana and Santiago de Cuba, Schloss note only captures the unique unifying experience that this celebration perpetuates, but also the vivacity of the Brazilian music which itself is a mélange of Portuguese, African and American Indian heritage. Liner notes include information on the History of Carnaval, as well as song and instrument details. Some notation and lyrics.
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Field of Study
World Music
Content Type
Music recording
Contributor
Andrew Schloss
Date Published / Released
1981
Publisher
Folkways Records
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performed by Paco Peña, 1942- and Eduardo Falú (Nimbus, 1989), 47 mins
Date Written / Recorded
1989-08-09
Field of Study
World Music
Content Type
Music recording
Performer / Ensemble
Paco Peña, 1942-, Eduardo Falú
Author / Creator
Paco Peña, 1942-, Eduardo Falú
Date Published / Released
1989
Publisher
Nimbus
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the brazilian rhytms
After a series of slow and calming albums, Anjey Satori in his next album
invites the listener to taste quite lively and energetic rhythms of different
ethnic drums and other percussion. African, Tibetan and shaman drums and
percussion fit very well for the practice of dynamic meditations.
Sample
Description
After a series of slow and calming albums, Anjey Satori in his next album
invites the listener to taste quite lively and energetic rhythms of different
ethnic drums and other percussion. African, Tibetan and shaman drums and
percussion fit very well for the practice of dynamic meditations.
Date Written / Recorded
2010
Field of Study
World Music
Content Type
Music recording
Performer / Ensemble
Anjey Satori, 1969-
Author / Creator
Anjey Satori, 1969-
Date Published / Released
2010-07-24
Publisher
Anjey Satori
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Bimini Gal
produced by Samuel Barclay Charters, 1929-2015; performed by Joseph Spence; in Folk Guitar, Bahaman Ballads and Rhyming Spirituals (Folkways Records, 1964), 6 mins
This collection of three virtuosos from the island of Andros is a compilation of several recordings not previously released on Samuel Charters’ series of Bahamian music (see SFW40066, FW03845, and FW03846). Opening with the country’s premiere folk guitarist, Joseph Spence, whose distinctive playing style is...
Sample
produced by Samuel Barclay Charters, 1929-2015; performed by Joseph Spence; in Folk Guitar, Bahaman Ballads and Rhyming Spirituals (Folkways Records, 1964), 6 mins
Description
This collection of three virtuosos from the island of Andros is a compilation of several recordings not previously released on Samuel Charters’ series of Bahamian music (see SFW40066, FW03845, and FW03846). Opening with the country’s premiere folk guitarist, Joseph Spence, whose distinctive playing style is only matched by his own half-singing/half-grunting through his pipe, this collection includes the music of John Roberts and Frederick M...
This collection of three virtuosos from the island of Andros is a compilation of several recordings not previously released on Samuel Charters’ series of Bahamian music (see SFW40066, FW03845, and FW03846). Opening with the country’s premiere folk guitarist, Joseph Spence, whose distinctive playing style is only matched by his own half-singing/half-grunting through his pipe, this collection includes the music of John Roberts and Frederick McQueen who demonstrate the islands’ fading art of three-part anthem singing.
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Field of Study
World Music
Content Type
Music recording
Performer / Ensemble
Joseph Spence
Contributor
Samuel Barclay Charters, 1929-2015
Author / Creator
Joseph Spence
Date Published / Released
1964
Publisher
Folkways Records
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Instruments and Music of Indians of Bolivia
produced by Bernard Keiler, fl. 1962 (Folkways Records, 1962), 24 mins
“The native music of Bolivia is as varied as the landscape of that fascinating country. From the shores of Lake Titicaca 12,000 feet above sea level to the lush valleys of Cochabamba and Tarija instruments and styles of music range from the monotonous pentatonic incantation played by a group of sicuris (panpiper...
Sample
produced by Bernard Keiler, fl. 1962 (Folkways Records, 1962), 24 mins
Description
“The native music of Bolivia is as varied as the landscape of that fascinating country. From the shores of Lake Titicaca 12,000 feet above sea level to the lush valleys of Cochabamba and Tarija instruments and styles of music range from the monotonous pentatonic incantation played by a group of sicuris (panpipers) in Tarabuco to the lively tonada strummed on a charango in the little market town of Tarata...”
Bernard Keiler
“La música n... “The native music of Bolivia is as varied as the landscape of that fascinating country. From the shores of Lake Titicaca 12,000 feet above sea level to the lush valleys of Cochabamba and Tarija instruments and styles of music range from the monotonous pentatonic incantation played by a group of sicuris (panpipers) in Tarabuco to the lively tonada strummed on a charango in the little market town of Tarata...”
Bernard Keiler
“La música nativa de Bolivia es tan variada como el paisaje de ese país fascinante. Desde las orillas del lago Titicaca 3.810 metros sobre el nivel del mar hasta los verdes valles de Cochabamba y Tarija, los instrumentos y los estilos musicales abarcan desde la monótona entonación pentatónica tocada por un grupo de sicuris (tocadores de zampoña) en Tarabuco hasta la vigorosa tonada rasgueada en un charango en un pequeño mercado del pueblo de Tarata...”
Bernard Keiler
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Bernard Keiler
“La música n... “The native music of Bolivia is as varied as the landscape of that fascinating country. From the shores of Lake Titicaca 12,000 feet above sea level to the lush valleys of Cochabamba and Tarija instruments and styles of music range from the monotonous pentatonic incantation played by a group of sicuris (panpipers) in Tarabuco to the lively tonada strummed on a charango in the little market town of Tarata...”
Bernard Keiler
“La música nativa de Bolivia es tan variada como el paisaje de ese país fascinante. Desde las orillas del lago Titicaca 3.810 metros sobre el nivel del mar hasta los verdes valles de Cochabamba y Tarija, los instrumentos y los estilos musicales abarcan desde la monótona entonación pentatónica tocada por un grupo de sicuris (tocadores de zampoña) en Tarabuco hasta la vigorosa tonada rasgueada en un charango en un pequeño mercado del pueblo de Tarata...”
Bernard Keiler
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Field of Study
World Music
Content Type
Music recording
Contributor
Bernard Keiler, fl. 1962
Date Published / Released
1962
Publisher
Folkways Records
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Joseph Spence: The Complete Folkways Recordings, 1958
produced by Samuel Barclay Charters, 1929-2015 (Smithsonian Folkways Recordings, 1992), 50 mins
Sam Charters first recorded Bahamian guitarist Joseph Spence on Andros Island in July 1958. Spence, long out of work as a stonemason, had used his time to perfect a unique style of playing. Charters took Spence as a model for what he wanted to hear in other Bahamian guitarists. Originally issued in 1959 as Fol...
Sample
produced by Samuel Barclay Charters, 1929-2015 (Smithsonian Folkways Recordings, 1992), 50 mins
Description
Sam Charters first recorded Bahamian guitarist Joseph Spence on Andros Island in July 1958. Spence, long out of work as a stonemason, had used his time to perfect a unique style of playing. Charters took Spence as a model for what he wanted to hear in other Bahamian guitarists. Originally issued in 1959 as Folkways 3844 and part of Folkways 3847.
Field of Study
World Music
Content Type
Music recording
Contributor
Samuel Barclay Charters, 1929-2015
Date Published / Released
1992
Publisher
Smithsonian Folkways Recordings
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Harmonica
produced by David Blair Stiffler, fl. 1981-2014; in Music of the Coastal Amerindians of Guyana: The Arawak, Carib and Warrau (Folkways Records, 1982), 2 mins
"This recording presents songs of the Warrau, the Carib, and the Arawak Amerindian tribes of Guyana, South America. These families of Amerindian peoples are spread along the rivers and waterways of the Northeast coast of South America, south of the Orinoco and north of the Amazon, but this recording was made enti...
Sample
produced by David Blair Stiffler, fl. 1981-2014; in Music of the Coastal Amerindians of Guyana: The Arawak, Carib and Warrau (Folkways Records, 1982), 2 mins
Description
"This recording presents songs of the Warrau, the Carib, and the Arawak Amerindian tribes of Guyana, South America. These families of Amerindian peoples are spread along the rivers and waterways of the Northeast coast of South America, south of the Orinoco and north of the Amazon, but this recording was made entirely within Guyana, where all the three families are well represented..."
David Blair Stiffler
"Esta grabación presenta canciones... "This recording presents songs of the Warrau, the Carib, and the Arawak Amerindian tribes of Guyana, South America. These families of Amerindian peoples are spread along the rivers and waterways of the Northeast coast of South America, south of the Orinoco and north of the Amazon, but this recording was made entirely within Guyana, where all the three families are well represented..."
David Blair Stiffler
"Esta grabación presenta canciones de las tribus amerindias Warrau, los Caribes y los Arawak de Guyana, América del Sur. Estas familias amerindias están diseminadas por los ríos y canales de la costa norte de Sur América, al sur del Orinoco y al norte del Amazonas, pero esta grabación fue realizada enteramente en la Guyana, donde la población de todas las tres familias está bien representada..."
David Blair Stiffler
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David Blair Stiffler
"Esta grabación presenta canciones... "This recording presents songs of the Warrau, the Carib, and the Arawak Amerindian tribes of Guyana, South America. These families of Amerindian peoples are spread along the rivers and waterways of the Northeast coast of South America, south of the Orinoco and north of the Amazon, but this recording was made entirely within Guyana, where all the three families are well represented..."
David Blair Stiffler
"Esta grabación presenta canciones de las tribus amerindias Warrau, los Caribes y los Arawak de Guyana, América del Sur. Estas familias amerindias están diseminadas por los ríos y canales de la costa norte de Sur América, al sur del Orinoco y al norte del Amazonas, pero esta grabación fue realizada enteramente en la Guyana, donde la población de todas las tres familias está bien representada..."
David Blair Stiffler
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Field of Study
World Music
Content Type
Music recording
Contributor
David Blair Stiffler, fl. 1981-2014
Date Published / Released
1982
Publisher
Folkways Records
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Music of the Haut Oyapok: Oyampi and Emerillon Indians, French Guiana, South America
produced by David Blair Stiffler, fl. 1981-2014 (Folkways Records, 1980), 31 mins
Sample
produced by David Blair Stiffler, fl. 1981-2014 (Folkways Records, 1980), 31 mins
Field of Study
World Music
Content Type
Music recording
Contributor
David Blair Stiffler, fl. 1981-2014
Date Published / Released
1980
Publisher
Folkways Records
×
