Browse Titles - 17 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.
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Creole 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.
Folk Guitar, Bahaman Ballads and Rhyming Spirituals
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.
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John Crow Say..: Jamaican Music of Faith, Work and Play
Rounds or cannons or quadrilles, European church harmony or familiar hymn melodies—these 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.
Joseph Spence: The Complete Folkways Recordings, 1958
Music of Cuba
Music of Guatemala, Vol. 2
"The music presented in this album is typical of rural Guatemala. Most of the inhabitants of this area are Indians of Mayan descent, but almost everywhere in the Guatemalan countryside one can also find Ladinos: persons, of whatever descent, who speak Spanish in their...
"The music presented in this album is typical of rural Guatemala. Most of the inhabitants of this area are Indians of Mayan descent, but almost everywhere in the Guatemalan countryside one can also find Ladinos: persons, of whatever descent, who speak Spanish in their homes and have adopted the Ladino way of life, which is mostly Spanish. It is not completely Spanish, however, because both the culture... Produced and recorded by Jacques Jangoux.
"The music presented in this album is typical of rural Guatemala. Most of the inhabitants of this area are Indians of Mayan descent, but almost everywhere in the Guatemalan countryside one can also find Ladinos: persons, of whatever descent, who speak Spanish in their homes and have adopted the Ladino way of life, which is mostly Spanish. It is not completely Spanish, however, because both the cultures of rural Guatemala are the result of the confrontation over several centuries of two very different civilizations, the indigenous Mayan, and the Western, introduced by the Spanish in the 16th century. Both cultures have borrowed traits form the other, and this is nowhere more evident than in their music, which is a mixture of European, Indian, and perhaps also African elements..."
Jacques Jangoux
Producido y grabado por Jacques Jangoux.
"La música que se presenta en este álbum es típica de la Guatemala rural. Muchos de los habitantes de esta área son indios descendientes de los Mayas, pero también se pueden encontrar "ladinos" casi en todo el país rural guatemalteco, es decir, personas de diversos orígenes étnicos que hablan castellano en sus casas y han adoptado las costumbres ladinas, principalmente españolas. No completamente, porque ambas culturas de la Guatemala rural son el resultado de una confrontación de varios siglos entre civilizaciones muy diferentes, la Maya y la occidental, introducida por los españoles en el siglo XVI. Ambas culturas han tomado algunos rasgos de la otra, y esto no puede ser más evidente en ningún otro sitio que es su música, que es una mezcla de elementos europeos, indígenas y quizá también africanos..."
Jacques Jangoux
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Music of the Bahamas, Vol. 3: Instrumental Music from the Bahamas Islands
In 1958, Samuel Charters captured the sounds of celebration during of the anniversary weekend of emancipation known as August Monday. On the island of Andros, Charters recorded traditional ‘rake ‘n’ scrape’ music by the Fresh Creek Dance Band, a harmonica tune by Charles Bastian, a few numbers by two bra...
In 1958, Samuel Charters captured the sounds of celebration during of the anniversary weekend of emancipation known as August Monday. On the island of Andros, Charters recorded traditional ‘rake ‘n’ scrape’ music by the Fresh Creek Dance Band, a harmonica tune by Charles Bastian, a few numbers by two brass bands, guitar playing in the style of the island’s own Joseph Spence, and an extraordinarily rare example of Bahamian fife playing...
In 1958, Samuel Charters captured the sounds of celebration during of the anniversary weekend of emancipation known as August Monday. On the island of Andros, Charters recorded traditional ‘rake ‘n’ scrape’ music by the Fresh Creek Dance Band, a harmonica tune by Charles Bastian, a few numbers by two brass bands, guitar playing in the style of the island’s own Joseph Spence, and an extraordinarily rare example of Bahamian fife playing on “I Drink All the Rum and Never Get Drunk”.
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Music of the Maya-Quiches of Guatemala: The Rabinal Achi and Baile de las Canastas
Rabinal Achi is one of the few pre-Columbian literary works to survive the Conquest, a tragic story of epic proportions that, like other pre-Hispanic dramas, employed song, dance, mime, masks and declamation.
Baile de las Canastas (Dance of the Baskets) celebrates...
Rabinal Achi is one of the few pre-Columbian literary works to survive the Conquest, a tragic story of epic proportions that, like other pre-Hispanic dramas, employed song, dance, mime, masks and declamation.
Baile de las Canastas (Dance of the Baskets) celebrates the change from a semi-nomadic hunters’ society to an agricultural civilization. Today it is performed as a series of set scenes usi... Produced and recorded by Henrietta Yurchenco.
Rabinal Achi is one of the few pre-Columbian literary works to survive the Conquest, a tragic story of epic proportions that, like other pre-Hispanic dramas, employed song, dance, mime, masks and declamation.
Baile de las Canastas (Dance of the Baskets) celebrates the change from a semi-nomadic hunters’ society to an agricultural civilization. Today it is performed as a series of set scenes using masks, dance, music, dialogue, and mime. The performance takes its name from the tall baskets worn by the dancers.
Producido y grabado por Henrietta Yurchenco. El Rabinal Achi es uno de los pocos textos literarios precolombinos que sobrevivió a la Conquista, una historia de proporciones épicas que, como otros dramas prehispánicos, emplea canciones, danza, mímica, máscaras y declamación.
El baile de las canastas, por su parte, celebra el cambio de una sociedad de cazadores seminómadas a una civilización basada en la agricultura. Está compuesto por una serie de escenas que emplean máscaras, música, danza, y diálogos. El baile toma su nombre de las canastas que usan en la cabeza los participantes.
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