Browse Titles - 130 results
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 Coastal Amerindians of Guyana: The Arawak, Carib and Warrau
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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Music of the Idoma of Nigeria
The Idoma people of Nigeria allowed Prof. Robert G. Armstrong to record a ritual whose live performance is considered taboo except at funerals. For the wake, elderly women sing and play ichicha (large gourd rattles); there is also a dance circle with at least one man on an okanga(two-membrane drum). The wake l...
The Idoma people of Nigeria allowed Prof. Robert G. Armstrong to record a ritual whose live performance is considered taboo except at funerals. For the wake, elderly women sing and play ichicha (large gourd rattles); there is also a dance circle with at least one man on an okanga(two-membrane drum). The wake lasts all night until the actual funeral, the Urchulo Nehi (Great Ceremony), the following noon.
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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Music of the Orient
Music of the Renaissance and Baroque for Brass Quintet
The predecessor of the modern brass quintet had its heyday in the late Renaissance and early Baroque eras, phasing out with the advent of the violin and wind instruments. This 1967 recording, performed on modern instruments, captures the spirit and style of fifteenth- and sixteenth-century performance without th...
The predecessor of the modern brass quintet had its heyday in the late Renaissance and early Baroque eras, phasing out with the advent of the violin and wind instruments. This 1967 recording, performed on modern instruments, captures the spirit and style of fifteenth- and sixteenth-century performance without the use of period instruments, inviting listeners to explore the glory of Renaissance music in a familiar realm.
Music of the Shigin: Chanting to Chinese Poetry
Jarabes Mestizos de Aguilillas
Henrietta Yurchenco
"Cuando los españoles llegaron a Tzintzuntzan, la antigua capital del pueblo Tarascan, fueron entretenidos, según nos cuentas los valiosísimos cronistas españoles del siglo XVI, por una prolongada celebración en la cual escucharon danzas y canciones ‘suficientemente tristes como para haber subido del mismo infierno.’ ¡No era para menos! No eran tiempos para alegrías, porque una funesta ruina acababa de golpear en la capital azteca a solo unas millas de distancia. Los ‘invitados’ de piel clara habían venido en una misión de paz. Cuatrocientos años han pasado desde aquellos fatídicos días. Una vez más, en 1965, los tarascan fueron invadidos por extranjeros: esta vez, sin embargo, eran amigables y venían en búsqueda de su música..."
Henrietta Yurchenco
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Samai
