Browse Titles - 24 results
Amerindian Music of Chile: Aymara, Qaqashqar, Mapuche
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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Bongo, Backra & Coolie: Jamaican Roots, Vol. 1
Jamaican folk music blends African, European and East Indian (in dialect: Bongo, Backra and Coolie) roots into something distinctly Jamaican. Kumina, a magico-religious cult of predominantly rural peasantry, includes invocation of and possession by gods and ancestral spirits aided by songs and drumbeats. Convin...
Jamaican folk music blends African, European and East Indian (in dialect: Bongo, Backra and Coolie) roots into something distinctly Jamaican. Kumina, a magico-religious cult of predominantly rural peasantry, includes invocation of and possession by gods and ancestral spirits aided by songs and drumbeats. Convince, another magico-religious cult that likely originated among the Maroons of the Blue Mountains, differs from kumina on two basic acco...
Jamaican folk music blends African, European and East Indian (in dialect: Bongo, Backra and Coolie) roots into something distinctly Jamaican. Kumina, a magico-religious cult of predominantly rural peasantry, includes invocation of and possession by gods and ancestral spirits aided by songs and drumbeats. Convince, another magico-religious cult that likely originated among the Maroons of the Blue Mountains, differs from kumina on two basic accounts: ghosts called “duppies” rather than gods do the possessing and convince music never uses drums. Yet, kumina and convince share similar lineage from African cultural practices. Also sampled here are examples of “Hindustani” music intended for dancing. These selections use the tabla drum, the “Indian fiddle” (a bowed three-stringed instrument) and a nasal vocal tone. Volume Two (FW04232) continues with Zion Revival, quadrille bands and fife and drum music.
Show more Show lessCreole Music of Surinam
This collection presents the two main genres of Afro-Dutch Guyanese musicKawina-winti and Kaseko-Opo Poku. Sung in Taki-Taki (a native Creole dialect consisting of English, Dutch, Portuguese, and African languages) this album offers a glimpse into Surinamese life and the music that accompanies it.
This collection presents the two main genres of Afro-Dutch Guyanese musicKawina-winti and Kaseko-Opo Poku. Sung in Taki-Taki (a native Creole dialect consisting of English, Dutch, Portuguese, and African languages) this album offers a glimpse into Surinamese life and the music that accompanies it.
Glory Glory
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...
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.
Show more Show lessJohn Crow Say..: Jamaican Music of Faith, Work and Play
Rounds or cannons or quadrilles, European church harmony or familiar hymn melodiesthese are testaments to the British contribution to Jamaican culture. African call-and-response patterns, a particular and signifying humor, and Anansi (trickster) stories speak to the African input. But listening will tell you t...
Rounds or cannons or quadrilles, European church harmony or familiar hymn melodiesthese are testaments to the British contribution to Jamaican culture. African call-and-response patterns, a particular and signifying humor, and Anansi (trickster) stories speak to the African input. But listening will tell you that the cultural voice is truly unique to Jamaica.
Jorge Alfano: Chasky
Joseph Spence: The Complete Folkways Recordings, 1958
Music from the Dominican Republic: Vol. 4, Songs from the North
Grabado por Verna Gillis y Ramón Daniel Pérez Martínez.
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Grabado por Verna Gillis y Ramón Daniel Pérez Martínez.
Para información sobre ordenar haga clic aquí.