Zydeco Cajun Prairie Byway
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Various the Womeximizer 09 Mp3, Flac, Wma
Various The Womeximizer 09 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: The Womeximizer 09 Country: Germany Released: 2009 Style: Folk, Neofolk, African MP3 version RAR size: 1434 mb FLAC version RAR size: 1489 mb WMA version RAR size: 1790 mb Rating: 4.7 Votes: 631 Other Formats: VOC AAC TTA DXD AC3 MMF VOX Tracklist 1 –Staff Benda Bilili Je T'aime 5:00 2 –Ale Möller Band Bail 4:41 3 –Ahilea Cafe Svetlana 4:00 4 –Boris Malkovsky Introduction 2:55 5 –Watcha Clan Balkan Quolou 3:49 6 –Chet Nuneta Ayazin 3:09 7 –Oreka TX Lauhazka 4:11 8 –Kayhan Kalhor & Brooklyn Rider Parvaz 4:32 9 –Hasna El Becharia Smaa Smaa 4:43 10 –Gilzene & The Blue Light Mento Band Wings Of A Dove 4:03 11 –Victor Démé Djon' Maya 4:09 12 –Deolinda Fado Toninho 2:06 13 –Lepistö & Lehti Vainajalan Tango 4:25 14 –Mógil Litla Prump 3:32 15 –Hanggai Wuji 2:35 16 –Dulsori Drum Sinawi 4:33 17 –Parno Graszt Rávágok A Zongorára 2:44 18 –Cedric Watson Cedric Zydeco 2:55 19 –Orchestra Popolare Italiana Sia Beneduttu Chi Fichi Lu Munnu 2:29 20 –Yves Lambert Et Le Bébert Orchestra La Fille Du Vigneron/Qui Aurait Cru 4:10 Companies, etc. Phonographic Copyright (p) – Piranha WOMEX AG Copyright (c) – Piranha WOMEX AG Mastered At – Traumton Studios Credits Artwork – www.elephant-castle.de* Barcode and Other Identifiers Label Code: LC 07717 Related Music albums to The Womeximizer 09 by Various Pompeo Stillo - Li Cose Do Munnu Blue Glaze Mento Band - We Will Wait Eugen Cicero, Munich Philharmonic Orchestra, Cedric Dumont - Love's Dream Cedric Phillips - Calypsos Queen Ida And Her Zydeco Band - Caught In The Act! Sonic Options - BB Suite Chet Baker - Big Band Ahilea - Cafe Svetlana Zydeco Party Band - Dancin' On The Levee T-Lou And His Los Angeles Zydeco Band - T-Lou And His Los Angeles Zydeco Band. -
Nick Gaitan Interviewer's Name: Mary Manning Date
Interviewee: Nick Gaitan Interviewer’s Name: Mary Manning Date: August 9, 2015 Length of Interview: 1:23:48 Transcription Conventions: “ . ” after a phrase that is not completed. Repeated words/short phrases and fillers such as “uh”, “um,” and “ah” are usually not transcribed. Pauses and laughter are not noted or transcribed. [0:01] Mary: These numbers will start moving, and they're moving. Today is August 9th 2015, and I'm Mary Manning with the Houston Arts Alliances, Folk Life, and Traditional Arts program. I'm at the home of bass player Nick Gaitan of Umbrella Man, who has kindly agreed to share his knowledge and expertise about different genres of music he performs. Now, did I say your last name right? [0:22] Nick: Yes. [0:26] Mary: Alright, so first question. Describe your first memory of hearing music. [0:32] Nick: My first memory of hearing music, growing up in my house there was a lot of music. There was what would be soul music. Motown. There was country because growing up as a kid in the 80s, we still had a lot of the great 70s country players and some from before that were still around, but you had Willie, you had Waylon, you had George Jones, you still had Emmett. Everybody was there, and then you had these huge ... Not only country music, but the pop music of the time because I was also growing up in the MTV generation. We got to see things like Michael Jackson's stardom after Jackson 5. We got to see all the 80s music be created. -
"World Music" and "World Beat" Designations Brad Klump
Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
Can You Sing Or Play Old-Time Music?': the Johnson City Sessions Ted Olson East Tennessee State University, [email protected]
East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 2013 'Can You Sing Or Play Old-Time Music?': The Johnson City Sessions Ted Olson East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Appalachian Studies Commons, and the Music Commons Citation Information Olson, Ted. 2013. 'Can You Sing Or Play Old-Time Music?': The oJ hnson City Sessions. The Old-Time Herald. Vol.13(6). 10-17. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-6/johnsoncity.html ISSN: 1040-3582 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. 'Can You Sing Or Play Old-Time Music?': The ohnsonJ City Sessions Copyright Statement © Ted Olson This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1218 «'CAN YOU SING OR PLAY OLD-TIME MUSIC?" THE JOHNSON CITY SESSIONS By Ted Olson n a recent interview, musician Wynton Marsalis said, "I can't tell The idea of transporting recording you how many times I've suggested to musicians to get The Bristol equipment to Appalachia was, to record Sessions—Anglo-American folk music. It's a lot of different types of companies, a shift from their previous music: Appalachian, country, hillbilly. -
Chapter 2 Music in the United States Before the Great Depression
American Music in the 20th Century 6 Chapter 2 Music in the United States Before the Great Depression Background: The United States in 1900-1929 In 1920 in the US - Average annual income = $1,100 - Average purchase price of a house = $4,000 - A year's tuition at Harvard University = $200 - Average price of a car = $600 - A gallon of gas = 20 cents - A loaf of Bread = 20 cents Between 1900 and the October 1929 stock market crash that triggered the Great Depression, the United States population grew By 47 million citizens (from 76 million to 123 million). Guided by the vision of presidents Theodore Roosevelt1 and William Taft,2 the US 1) began exerting greater political influence in North America and the Caribbean.3 2) completed the Panama Canal4—making it much faster and cheaper to ship its goods around the world. 3) entered its "Progressive Era" by a) passing anti-trust laws to Break up corporate monopolies, b) abolishing child labor in favor of federally-funded puBlic education, and c) initiating the first federal oversight of food and drug quality. 4) grew to 48 states coast-to-coast (1912). 5) ratified the 16th Amendment—estaBlishing a federal income tax (1913). In addition, by 1901, the Lucas brothers had developed a reliaBle process to extract crude oil from underground, which soon massively increased the worldwide supply of oil while significantly lowering its price. This turned the US into the leader of the new energy technology for the next 60 years, and opened the possibility for numerous new oil-reliant inventions. -
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. -
Musical Traditions of Southern Louisiana
Musical Traditions of Southern Louisiana Rosalon Moorhead GENERAL INTRODUCTION This unit was developed for use in French classes at the secondary level. It gives students opportunities to Research the history and patterns of French settlement in Louisiana Discover three types of music (New Orleans jazz, Cajun, Zydeco) which are representative of the Francophone presence in Louisiana. Make connections between the rhythms of the music and those of the French language. Although I intend to use the unit in my fourth-year French classes at Bellaire High School, the material is probably better suited to the curriculum of second- or third-year classes, as some of the state-adopted textbooks at those levels have chapters that deal with Louisiana. I believe that the unit could be modified for use at any level of French language instruction. BACKGROUND NARRATIVE In the nearly twenty years that I have been teaching French, I have observed that while the students‟ motivations to take the class have remained largely the same (it‟s a beautiful language, I want to travel/live in France, my mother made me), the emphases in the teaching of the language have changed quite a bit. As a student and in the early years of my teaching career, I (along with other Americans) studied the sound system and patterns of the language, attempting to mimic the pronunciation and intonation of French as my primary goal. That approach was superseded variously by those focusing on the grammar, the vocabulary, or the learning of language in context as revealed by reading. The one aspect of the study of French that seemed to be static was the culture; until very recently, the references were to France, and more specifically, to Paris. -
Fifty-Second National Folk Festival
FIFTY-SECOND NATIONAL FOLK FESTIVAL PRODUCED BY THE NATIONAL COUNCIL FOR THE TRADITIONAL ARTS, JOHNSTOWN AREA HERITAGE ASSOCIATION, CITY OF JOHNSTOWN, AND THE NATIONAL PARK SERVICE. 'f DEARFRIENDS: -1-----�¥e.te0me t:oti'l�REI -NawR-a-1-Fe-HrFest-iva-l. -J:i·i fes·H-va-1-i-s-ar>f>ea· r-+ftg-f-e>-· t-h fi-rs-t-Hme-rn1-:tcmn-stc)Wlr,-----t+---,,---1 A common theme running through the lyrics of a recent popular song proclaimed, "love in any language, Pennsylvania, but its heart has long been connected to the values and heritage reflected in this town. fluently spoken here." During the days and nights of the 1990 National Folk Festival in Johnstown, that's As the first multi-ethnicfestival, the first National and all its successors have been well acquainted exactly what you'll hear, because here in Johnstown and throughout Pennsylvania, we have retained a vi with the diversity of expressions of culture among the members of communities. Johnstown, with its brant love for the rich legacy of traditions we have inherited from hundreds of diverse national cultures. stunning array of ethnic groups, offers fertile ground for the harvesting of music and dance that have We are intensely proud of our multiethnic heritage and delight in this opportunity to showcase and been kept alive by succeeding generations. The men and women who came here to work brought share those unique gifts with visitors from across the country and, indeed, from around the world. with them the culture of lands from all over the world, and their children now have the opportunity to Founded by German settlers in the early 1800s, Johnstown soon became home to thousands of immi share their music, dance, crafts, and foodways with their neighbors and with neighbors from around grants from all parts of the globe. -
LCGFT for Music Library of Congress Genre/Form Terms for Music
LCGFT for Music Library of Congress Genre/Form Terms for Music Nancy Lorimer, Stanford University ACIG meeting, ALA Annual, 2015 Examples Score of The Four Seasons Recording of The Four Seasons Book about The Four Seasons Music g/f terms in LCSH “Older headings” Form/genre term Subject heading Operas Opera Sacred music Church music Suites Suite (Music) “Newer headings” Genre/form term Subject heading Rock music Rock music $x History and criticism Folk songs Folk songs $x History and criticism Music g/f terms in LCSH Form/genre term Children’s songs Combined with demographic term Buddhist chants Combined with religion term Ramadan hymns Combined with event term Form/genre term $v Scores and parts $a is a genre/form or a medium of performance $v Hymns $a is a religious group $v Methods (Bluegrass) $a is an instrument; $v combines 2 g/f terms Genre/form + medium of performance in LCSH Bass clarinet music (Jazz) Concertos (Bassoon) Concertos (Bassoon, clarinet, flute, horn, oboe with band) Overtures Overtures (Flute, guitar, violin) What’s wrong with this? Variations in practice (old vs new) Genre/form in different parts of the string ($a or $v or as a qualifier) Demographic terms combined with genre/form terms Medium of performance combined with genre/form terms Endless combinations available All combinations are not provided with authority records in LCSH The Solution: LCGFT + LCMPT Collaboration between the Library of Congress and the Music Library Association, Bibliographic Control Committee (now Cataloging and Metadata Committee) Genre/Form Task Force Began in 2009 LCMPT published February, 2014 LCGFT terms published February 15, 2015 567 published in initial phase Structure Thesaurus structure Top term is “Music” All terms have at least one BT, except top term May have more than one BT (Polyhierarchy) The relationship between a term and multiple BTs is “and” not “or” (e.g., you cannot have a term whose BTs are “Cat” and “Dog”) Avoid terms that simply combine two BTs (e.g. -
Found Poem - Found Song
Louisiana Voices Folklife in Education Project www.louisianavoices.org Unit VI Louisiana's Musical Landscape Lessons 1 and 2 Found Poem - Found Song Name Date TOPIC: Louisiana_Music TASK: A Found Poem is made with words and phrases from something you read. It uses someone else’s language, but the poet combines it in a new way. Write a Found Poem following these directions. 1. Your teacher will assign one of these articles for you to read: • The Treasured Traditions of Louisiana Music, by Ben Sandmel • Cajun Music: Alive and Well in Louisiana, by Ann Savoy • Cajun Music as Oral Poetry, by Carolyn Ware • Hayride Boogie: Blues, Rockabilly and Soul from the Louisiana Hill and Delta Country, by Mike Luster • North Louisiana String Band, by Susan Roach • Since Ol’ Gabriel’s Time: Hezekiah and the Houserockers, by David Evans 2. As you read, choose ten main key words or phrases that give the meaning of that music genre to you, and jot them down. 3. Arrange these words or phrases in a pleasing and meaningful way to make a poem. 4. Write or type the poem and illustrate it with drawings or pictures you have collected for this lesson. 5. Read or recite your poem to the class. 6. Work with your group to choose a song in the genre you have read about, then arrange words and phrases to make a song about the genre. Use the Tempo, Dynamics, and Rhythm that are unique to the genre. If possible, locate some of the instruments used in that genre to accompany the singing. -
September-October 2018 from the Editor: Welcome to the September/October Edition of the 2018 AAA Newsletter
AMERICAN ACCORDIONISTS’ ASSOCIATION A bi-monthly publication of the AmericanNewsletter Accordionists’ Association September-October 2018 From the Editor: Welcome to the September/October edition of the 2018 AAA Newsletter. As we reflect on the outstanding success of the 80th Anniversary Festival in Alexandria, VA, the summer draws to a close bringing with it a sense of great pride and accomplishment. The array of talent fea- tured during our gala Anniversary festival showcased the accordion at its finest, in a variety of genres and settings. A wonderful review with pictures and videos can be found online at www.ameraccord.com and serves as a lasting souvenir of the spectacular gathering. As always, I would like to offer my sincere thanks to the AAA Past- President, Linda Reed and Board of Director, Rita Davidson for their kind assistance with the AAA Newsletter. We invite you to submit your news items for publication so that your fellow members can see the incredible array of accordion activities happening throughout the country. Items for the 2018 November/December Newsletter can be sent to me at [email protected] or to the official AAA e-mail address at: [email protected]. Please include ‘AAA Newsletter’ in the subject box, so that we don’t miss any items that come in. Text should be sent within the e-mail or as a Word attach- ment. Pictures should be sent as a high quality .jpg file, and the larger the file size the better. We can always reduce/crop the picture if necessary, however we are unable to increase the quality from smaller pictures. -
History of Blues
MU 012 D1 SL: Music and Culture in New Orleans Spring 2020 Course Syllabus Instructor: Clyde Stats Phone: 238-1730 (cell) email – [email protected] Course Meets: Hybrid – online plus 4 required in-class meetings – 1/21; 3/4; 3/24; 4/14; 7:00 – 9:30 p.m. Location: Lafayette L202 Required Text - Rose, Chris. 1 Dead in Attic; (available from instructor) Other excerpts (available online) from: The World That Made New Orleans by Ned Sublette Keeping the Beat on the Street by Nick Burns The Civically Engaged Reader by Davis & Lynn New Directions for Teaching and Learning by R. Rhoads Essential Jazz: The First 100 Years by Martin and Waters Musical Gumbo: The Music of New Orleans by Grace Lichtenstein Cajun Music Vol. I by Ann Allen Savoy Websites: Louisiana Folk Regions Map: http://www.louisianavoices.org/Unit4/edu_unit4_3subregions.html The Treasured Traditions of Louisiana Music: http://www.louisianafolklife.org/LT/Articles_Essays/treas_trad_la_music.html A Brief History of New Orleans Jazz: http://www.nps.gov/archive/jazz/Jazz%20History_origins_pre1895.htm History of Social Aid and Pleasure Clubs: http://www.mardigrasdigest.com/Sec_2ndline/2ndline_history.htm History of Mardi Gras: http://www.eastjeffersonparish.com/culture/MARDIGRA/HISTORY/history.htm History of Mardi Gras Indians: http://www.mardigrasindians.com/ Origins of Cajun and Zydeco Music: http://www.scn.org/zydeco/nwczHISTORY.htm Hurricane Katrina Timeline: http://www.nola.com/katrina/timeline/ Required Listening – Various examples posted online Videos Vulnerable New Orleans: