Youtube Links

Total Page:16

File Type:pdf, Size:1020Kb

Youtube Links World Music Listening Links CONTENTS Native America .............................................................................................................................................................. 4 Native American Lullaby ........................................................................................................................................... 4 Peyote songs ............................................................................................................................................................. 4 War Dance ................................................................................................................................................................ 4 Native American Flute .............................................................................................................................................. 4 Other Influences ....................................................................................................................................................... 5 Africa (Chapter 3) .......................................................................................................................................................... 5 Agbekor Ensemble .................................................................................................................................................... 5 Ewe Drumming ......................................................................................................................................................... 5 West African Drumming (Ghana) .............................................................................................................................. 5 Mbira Music (Shona- central and Southern Africa) .................................................................................................. 5 Chimurenga Music .................................................................................................................................................... 6 BaAka People ............................................................................................................................................................ 6 Other Examples (not covered in the book) ............................................................................................................... 6 The Kora (Short demonstration) .......................................................................................................................... 6 South African (Zulu) Choral Tradition: Isicathamiya ............................................................................................ 6 Miriam Makeba world-renowned South African singer....................................................................................... 6 Music of Black America (Chapter 4) .............................................................................................................................. 7 Music of Slavery ........................................................................................................................................................ 7 Music of the Church .................................................................................................................................................. 7 Music of Entertainment ............................................................................................................................................ 8 The Blues ................................................................................................................................................................... 8 Europe ........................................................................................................................................................................... 9 Exoticism ................................................................................................................................................................... 9 Scotland / Ireland ...................................................................................................................................................... 9 Spain ......................................................................................................................................................................... 9 France ..................................................................................................................................................................... 10 Italy ......................................................................................................................................................................... 10 Greece ..................................................................................................................................................................... 10 Germany – northern, mountain regions ................................................................................................................. 10 Eastern-Europe ....................................................................................................................................................... 10 Chapter 6 India ............................................................................................................................................................ 11 Cine Songs ............................................................................................................................................................... 11 Religious Music ....................................................................................................................................................... 11 Dance Music ............................................................................................................................................................ 11 Songs ....................................................................................................................................................................... 11 Performance Practice ............................................................................................................................................. 11 Chapter 7 Indonesia ..................................................................................................................................................... 12 Chapter 8 China ........................................................................................................................................................... 12 Supplemental Chapter: Japan ...................................................................................................................................... 13 Common Instruments ............................................................................................................................................. 13 Common Performance Genres ............................................................................................................................... 13 Chapter 9: Latin America (Chile, Olivia, Ecuador, Peru) .............................................................................................. 13 Chile ........................................................................................................................................................................ 13 Bolivia...................................................................................................................................................................... 13 Ecuador ................................................................................................................................................................... 14 Peru ......................................................................................................................................................................... 14 Chapter 10 The Arab World ......................................................................................................................................... 14 Instruments ............................................................................................................................................................. 14 Music in Religion ..................................................................................................................................................... 14 Bedouin Culture ...................................................................................................................................................... 14 NATIVE AMERICA Inauthentic, westernized, commercialized Native American music http://www.youtube.com/watch?v=DC4PcNEVAY0 NATIVE AMERICAN LULLABY Cherokee http://www.youtube.com/watch?v=rZ45nFK8f-4&feature=related Lakota http://www.youtube.com/watch?v=Ky5uTHvO5h8 PEYOTE SONGS Navajo http://www.youtube.com/watch?v=LwhnGQgklSg Otoe http://www.youtube.com/watch?v=lVcXcfY62z8&feature=relmfu Grass Dance http://www.youtube.com/watch?v=BYB3twhOKmo WAR DANCE Genre 1: http://www.youtube.com/watch?v=HwIwd_VKim8 Genre 2: http://www.youtube.com/watch?v=wG729eMxHDY&feature=related Social Dance http://www.youtube.com/watch?v=dnR1bKTF3jg NATIVE AMERICAN FLUTE http://www.youtube.com/watch?v=TErXZIi5jck&feature=related OTHER INFLUENCES The Fenders http://www.youtube.com/watch?v=7qmTgAFjhHU The Chinle Galileans http://www.youtube.com/watch?v=Fg2_-HVYu78 AFRICA (CHAPTER 3) AGBEKOR ENSEMBLE Example 1 http://www.youtube.com/watch?v=xHDvwWBJ0NQ Example 2 (Demonstration/Performance)
Recommended publications
  • Published Papers of the Ethnomusicology Symposia
    International Library of African Music PAPERS PRESENTED AT THE SYMPOSIA ON ETHNOMUSICOLOGY 1ST SYMPOSIUM 1980, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The music of Zulu immigrant workers in Johannesburg Johnny Clegg Group composition and church music workshops Dave Dargie Music teaching at the University of Zululand Khabi Mngoma Zulu children’s songs Bongani Mthethwa White response to African music Andrew Tracey 2ND SYMPOSIUM 1981, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The development of African music in Zimbabwe Olof Axelsson Towards an understanding of African dance: the Zulu isishameni style Johnny Clegg A theoretical approach to composition in Xhosa style Dave Dargie Music and body control in the Hausa Bori spirit possession cult Veit Erlmann Musical instruments of SWA/Namibia Cecilia Gildenhuys The categories of Xhosa music Deirdre Hansen Audiometric characteristics of the ethnic ear Sean Kierman The correlation of folk and art music among African composers Khabi Mngoma The musical bow in Southern Africa David Rycroft Songs of the Chimurenga: from protest to praise Jessica Sherman The music of the Rehoboth Basters Frikkie Strydom Some aspects of my research into Zulu children’s songs Pessa Weinberg 3RD SYMPOSIUM 1982, UNIVERSITY OF NATAL and 4TH SYMPOSIUM 1983, RHODES UNIVERSITY CONTENTS: The necessity of theory Kenneth Gourlay Music and liberation Dave Dargie African humanist thought and belief Ezekiel Mphahlele Songs of the Karimojong Kenneth Gourlay An analysis of semi-rural and peri-urban Zulu children’s songs Pessa Weinberg
    [Show full text]
  • CHERES Hailed to Be “The Best Purveyor of Authentic Ukrainian Folk
    CHERES Hailed to be “the best purveyor of authentic Ukrainian folk music in the United States” by the former head of the Archive of Folk Culture at the Library of Congress, Cheres brings to life melodies from the Carpathian mountains in Western Ukraine and neighboring Eastern European countries. Since its founding in 1990 by students of the Kyiv State Conservatory in the Ukraine, the ensemble has enthralled North American audiences with their rousing renditions of folk music performed on the cymbalum, violin, woodwinds, accordion, bass, and percussion. Virtuoso musicians join spirited dancers, all donned in traditional Western Ukrainian hand-embroidered garments, to paint a vivid picture of Ukrainian folk art. The musicians, most of whom are from Halychyna in western Ukraine, are united by an artistic vision to preserve their traditions. “Cheres” is actually a little known Ukrainian term for a metal- studded leather belt formerly used as a bulletproof vest during the Middle Ages. Today, the group Cheres has adopted this Medieval protective shield as their name to symbolize the safeguarding of vanishing folk art traditions from the Carpathian mountains. This seasoned ensemble has performed in nightclubs and concerts in New York City; music festivals in the Tri-State area, including Lincoln Center’s Out of Doors Festival in 2006 and Folk Parks in 2000, as well as colleges and universities on the east coast. Cheres has appeared on television on NBC’s Weekend Today show, as well as the Food Network’s Surprise! show. Tracks from their latest CD, Cheres: From the Mountains to the Steppe” have been played on WNYC’s New Sounds program, as well as other stations in the region.
    [Show full text]
  • Comparison Between Persian and English Lullabies' Themes: Songs
    19895 Maryam Sedaghat et al./ Elixir Literature 65 (2013) 19895-19899 Available online at www.elixirpublishers.com (Elixir International Journal) Literature Elixir Literature 65 (2013) 19895-19899 Comparison between Persian and English Lullabies’ themes: Songs which Originate From Heart of the Culture Maryam Sedaghat 1,* and Ahmad Moinzadeh 2 1Translation Studies, University of Isfahan, Iran. 2Department of English, University of Isfahan, Iran. ARTICLE INFO ABSTRACT Article history: The present research aimed to investigate the thematic concepts of lullabies as folk songs Received: 3 November 2013; which have passed orally through generations. The themes are hidden ideologies of lullabies Received in revised form: that carry cultural attitudes; in this regard, lullabies’ themes can reveal narrators viewpoints 2 December 2013; which originate from cultures and surrounding areas. Regarding the mentioned elements, the Accepted: 9 December 2013; themes suggested by Homayuni (2000) considered as the appropriate model for data extraction using the comparative and descriptive method. The findings showed the same Keywords themes in lullabies of both Persian and British cultures; but, in spite of similarities between Lullaby, themes, they had different ways of expression. This is to say, similarities were found in the Folklore, themes as the basic ideas and hidden layers of lullabies and differences were in their Theme, expressing ways as people attitudes. Oral tradition. © 2013 Elixir All rights reserved Introduction lullabies , are more properly song by woman, others by men” Children’s literature or juvenile literature deals with the (1972, p.1034). stories and poems for children and tries to investigate various Theme areas of this genre. Folklore is a main issue which has been Considering lullabies feminine aspect, it seems reasonable considered by researchers in children’s literature field; mother to take their thoughts into these lyrics, so, themes of lullabies sings lullabies to her child during his/her infancy and, come from their thoughts and attitudes.
    [Show full text]
  • Lullaby”: the Story of a Niggun1
    “Lullaby”: The Story of a Niggun1 MICHAEL BECKERMAN AND NAOMI TADMOR Introduction In the winter of 1943, a song was performed in the Terezín Ghetto. It was an art song with a Hebrew text, yet its melody had also featured as a folk song, a pop tune, and a wordless vocalization; later, it would become a religious hymn. This article seeks to uncover the story of this tune: how it emerged, how it acquired a text, how it got to Terezín, how it was treated there, and what meanings can be drawn from its manifestations. The piece in question is Gideon Klein’s “Lullaby.” Our inquiry started as we noted an anomaly, a disagreement between recordings. At a key point in the composition, we realized that two performers sing different pitches, which is not unusual in many song traditions, but is entirely atypical of a notated art song. Example 1a: Excerpt from Isabelle Ganz’s recording of Gideon Klein’s “Lullaby”2 Example 1b: Excerpt from Wolfgang Holzmair’s recording of Gideon Klein’s “Lullaby.”3 Listen at: http://dx.doi.org/10.3998/mp.9460447.0010.101 We wondered, how could this difference be explained? Was one version mistaken? If so, which one, and why did the mistake occur? Does it have any significance? While attempting to answer these questions, we found ourselves embarking on a scholarly pilgrimage, which took us from a shtetl-like community within a Russian imperial city, where the tune originated as a Hasidic niggun, to Anglo-Palestine in the 1930s and 40s, where it was transformed, and from there further to the European diaspora in the 1940s, to countries such as England and Poland, and then to Nazi Germany, where the version on which Klein’s song was based, was created; from there we crossed the Atlantic to New York, where a version of the original niggun was first notated, and then back to Terezín.
    [Show full text]
  • Of Paul Robeson 53
    J. Karp: The “Hassidic Chant” of Paul Robeson 53 Performing Black-Jewish Symbiosis: The “Hassidic Chant” of Paul Robeson JONATHAN KARP* On May 9, 1958, the African American singer and political activist Paul Robeson (1898–1976) performed “The Hassidic [sic] Chant of Levi Isaac,” along with a host of spirituals and folk songs, before a devoted assembly of his fans at Carnegie Hall. The “Hassidic Chant,” as Robeson entitled it, is a version of the Kaddish (Memorial Prayer) attributed to the Hasidic rebbe (master), Levi Yitzhak of Berditchev (1740–1810), a piece also known as the “Din Toyre mit Got” (“The Lawsuit with God”). According to tradition, Levi Yizhak had composed the song spontaneously on a Rosh Hashanah as he contemplated the steadfast faith of his people in the face of their ceaseless suffering. He is said to have stood in the synagogue before the open ark where the Torah scrolls reside and issued his complaint directly to God: a gut morgn dir, riboynoy shel oylem; ikh, levi yitzhak ben sarah mi-barditchev, bin gekumen tzu dir mit a din toyre fun dayn folk yisroel. vos host-tu tzu dayn folk yisroel; un vos hos-tu zich ongezetst oyf dayn folk yisroel? A good day to Thee, Lord of the Universe! I, Levi Yitzhak, son of Sarah, from Berditchev, Bring against you a lawsuit on behalf of your People, Israel. What do you have against your People, Israel? Why have your so oppressed your People, Israel?1 After this questioning of divine justice, Levi Yitzhak proceeded to chant the Kaddish in attestation to God’s sovereignty and supremacy.
    [Show full text]
  • Manor Primary School Music Year 1: in the Grove Overview of the Learning: All the Learning Is Focused Around One Song: in the Groove
    Manor Primary School Music Year 1: In The Grove Overview of the Learning: All the learning is focused around one song: In The Groove. The material presents an integrated approach to music where games, the interrelated dimensions of music (pulse, rhythm, pitch etc.), singing and playing instruments are all linked. Core Aims Pupils should be taught How to listen to music. perform, listen to, review and evaluate music across a range of historical periods, genres, styles and To sing a range of songs song. traditions, including the works of the great composers and musicians To understand the geographical origin of the music and in which era it was composed. Learn to sing and to use their voices, to create and compose music on their own and with others, To experience and learn how to apply key musical concepts/elements, eg finding a pulse, clapping have the opportunity to learn a musical instrument, use technology appropriately and have the a rhythm, use of pitch. opportunity to progress to the next level of musical excellence To play the accompanying instrumental parts (optional). understand and explore how music is created, produced and communicated, including through the inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and To work together in a band/ensemble. appropriate musical notations. To develop creativity through improvising and composing within the song. To understand and use the first five notes of C Major scale while improvising and composing. To experience links to other areas of the curriculum To recognise the style of the music and to understand its main style indicators.
    [Show full text]
  • Table of Contents
    1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis­ A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.
    [Show full text]
  • Mattishall Primary School Music Curriculum
    Mattishall Primary School Music Curriculum Music Early Years Foundation Stage Expressive arts and design Exploring and using media and materials: children sing songs, make music and dance, and experiment with ways of changing them. They safely use and explore a variety of materials, tools and techniques, experimenting with colour, design, texture, form and function. Being imaginative: children use what they have learnt about media and materials in original ways, thinking about uses and purposes. They represent their own ideas, thoughts and feelings through design and technology, art, music, dance, role-play and stories. In EYFS, children will have the opportunity to listen and respond to different styles of music, embedding foundations of the interrelated dimensions of music, listening to, learning to sing or sing along with nursery rhymes and action songs, improvising leading to playing classroom instruments and, share and perform the learning that has taken place. Reception is where we start our integrated approach to musical learning, laying down the foundations for KS1 and KS2 where we learn more about the interrelated dimensions of music (pulse, rhythm, pitch and tempo, dynamics, timbre, structure, texture), singing and playing instruments and that they are all linked. EYFS Program of Study Me! My Stories Everyone Our World Big Bear Funk Charanga Charanga Charanga Charanga Charanga Singing and chanting Singing and chanting Singing Singing Music Learning Focus: Learn to sing nursery rhymes and Learn to sing nursery rhymes and Learn to sing nursery rhymes and Learn to sing nursery rhymes action songs: action songs: action songs: and action songs: . Listening and appraising Funk music .
    [Show full text]
  • Miriam Makeba the Unforgettable Mp3, Flac, Wma
    Miriam Makeba The Unforgettable mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: The Unforgettable Country: South Africa Released: 2011 Style: African MP3 version RAR size: 1887 mb FLAC version RAR size: 1990 mb WMA version RAR size: 1547 mb Rating: 4.5 Votes: 341 Other Formats: FLAC ADX MP3 MPC TTA AUD VQF Tracklist 1-1 Mbule 1-2 Kiimanjaro 1-3 Amampondo 1-4 Click Song 1-5 Jikele Maweni 1-5 Holili 1-7 Mas Que Nada 1-8 Maybuye 1-9 Nomeva 1-10 Suliram 1-11 Ntjilo Ntjilo 1-12 Can´t Cross Over 1-13 Maduna 1-14 Zenizenabo 1-15 Malaika 1-16 Saduva 1-17 Lakutscona 1-18 Little Boy 1-19 Dubula 1-20 Chove Chuva 1-21 Malaisha 1-22 Ask The Rising Sun 1-23 Mesakhane 1-24 Naughty Little Flea 1-25 L´Enfant Et La Gazelle 2-1 Kwazulu ( Land Of The Zulu ) 2-2 Kwedini 2-3 Isangoma ( Witch Doctor ) 2-4 Beware Verwoerd 2-5 Pata Pata 2-6 Teya Teya 2-7 Pole Mze 2-8 Mbombela 2-9 Malcom X 2-10 Ushaka 2-11 House Of The Rising Sun 2-12 Nagula 2-13 Hush 2-14 Forbidden Games 2-15 Thulasizwe 2-16 Welela 2-17 Chicken 2-18 Hauteng 2-19 Orlando 2-20 Live The Future 2-21 Xica Da Silva 2-22 Umhome 2-23 Quit It 2-24 Oxgan 2-25 Jolinkomo DVD Live At The AVO Sessions Basel Switzeland 2006 3-1 Live In The Future 3-2 Amampondo 3-3 Africa Is Where My Heart Lies 3-4 Mbube 3-5 Nomewa 3-6 In Time 3-7 Masakhane 3-8 Ingwe Mabala 3-9 Malaika 3-10 Ibhabhalazi 3-11 Pata Pata 3-12 Umngoma Related Music albums to The Unforgettable by Miriam Makeba Teya - U're The Only DJ Happy Vibes - Pata Pata Miriam Makeba - The Many Voices Of Miriam Makeba Osibisa - Pata Pata / Malaika Milk & Sugar Feat.
    [Show full text]
  • The Study of Psychological Aspects of Iranian Mothers' Lullabies
    Asian Social Science; Vol. 12, No. 4; 2016 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education The Study of Psychological Aspects of Iranian Mothers’ Lullabies Vahid Khodaie Majd1 & Arastu Bakhshaliyev2 1 Ph.D. in Psychology, Department of Psychology, Baku State University, Baku, Azerbaijan 2 Professor, Department of Psychology, Baku State University, Baku, Azerbaijan Correspondence: Vahid Khodaie Majd, Department of Psychology, Baku State University, Baku, Azerbaijan. E-mail: [email protected] Received: January 7, 2015 Accepted: February 2, 2016 Online Published: March 18, 2016 doi:10.5539/ass.v12n4p93 URL: http://dx.doi.org/10.5539/ass.v12n4p93 Abstract Lullabies are one of the best and most appealing national-spiritual songs of the Iranian nation reflecting their high creativity in treating their children. The purpose of the present qualitative study is to examine the psychological aspects of the lullabies used by Iranian mothers through content analysis. Almost two thousand and five hundred lullabies of Farsi and Azeri speaking regions of Iran were selected based on purposive sampling. Having ensured the validity of the sources and documents of the lullabies in the regions, interpretive approach was adopted for studying and analyzing the contents of the lullabies. The content analysis of the lullabies under study indicated their far reaching psychological role in psychic health of the children, especially in creating positive self-concept, feeling of peace and security, reduced stress, and reinforcement of cognitive abilities as well as other psychological aspects, all of which have been discussed in this study. Keywords: lullaby, folklore, psychological aspects, psychological health, Iranian mothers 1.
    [Show full text]
  • Protrax Catalogue Protrax Backing Tracks
    PROTRAX CATALOGUE PROTRAX BACKING TRACKS July - August 2021 Customer Service & General Enquiries e: [email protected] w: www.protraxonline.com ABOUT THE CATALOGUE ProTrax Productions (South Africa) The backing tracks in this catalogue are arranged e: [email protected] in alphabetical order according to the song title, t: (+27) 82 770 0902 (Weekdays 08h30 to 17h00 - GMT +2) irrespective of language or genre. The availability f: (+27) 86 684 4187 a:191 Lisdogan Avenue, Lisdogan Park, Pretoria, 0083 of catalogued backing tracks may change without notice. ProTrax Music Production House (Australia) e: [email protected] Visit www.protraxonline.com to browse content, f: (+61) 450 778 577 (Weekdays 10h00 to 15h00 - GMT +8) listen to demos or search for backing tracks by: a: P.O. Box 717, South Fremantle, Western Australia, 6162 Genre Latest Additions PROTRAX RECORDING STUDIO Specials Top 10 Charts Bookings & Enquiries (South Africa) w: www.protraxstudio.com e: [email protected] On the website you can also request new tracks, t: (+27) 82 770 0902 (Weekdays 08h30 to 17h00) demos in different keys and view our terms of use. f: (+27) 6 684 4187 a: 191 Lisdogan Avenue, Lisdogan Park, Pretoria, 0083 PROTRAX KARAOKE EXCLUSIVES Customer Service & General Enquiries e: [email protected] w: www.protraxkaraoke.com t: (+27) 82 770 0902 (Weekdays 08h30 to 17h00) ProTrax Backing Track Catalogue J u l y - A u g u s t 2021 P a g e | 1 Joe Niemand from A Candle Burning Pam Thum A New Day Aan Jou Vas Eden "Faith Like Potatoes" A Cradle Prayer Rebecca St.
    [Show full text]
  • “Around the World in 18 Songs”: a Concert of Languages Elizabeth S. Rickel Senior Honors Project in Music the University
    “Around the World in 18 Songs”: A Concert of Languages Elizabeth S. Rickel Senior Honors Project in Music The University of Akron July 24th, 2020 Around the World in 18 Songs An Honors Recital Elizabeth Rickel, soprano Jackson Carruthers, pianist A Note from the Vocalist At the beginning of my research, I began with a few Questions: What makes art and folk songs so important to their respective cultures? How are they similar to each other? How are they different? What is it about this kind of music that makes it so many, no matter the origin of the person or song? The motivation for this project is to shine light on some lesser-known folk songs, build upon my passion for music and language, and to illustrate the power of music, a universal language that we all understand, and in fact rather enjoy, and to illustrate the beauty when culture, language, and music are combined effectively. The goal at the end of my research was to have a full concert set that I can perform for any venue, particularly in schools, where I can talk to young musicians and broaden their horizons in the direction of world music. The songs for this concert were selected on the basis of various factors. Some of these songs were ones that I was already familiar with, either having heard them or performed them previously. Another factor was familiarity with the language, which ranged anywhere from speaking/performing in that language, a language with a similar root, and so on. That being said, I tried to go outside of my comfort zone and pick languages that I was not familiar with.
    [Show full text]