Putumayo Presents the Best of World Music
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An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people. -
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Andrew N. Weintraub. Dangdut Stories: A Social and Musical History of Indonesia's Most Popular Music. New York, NY: Oxford University Press, 2010. Photographs, musical notation, glossary, bibliography, index. 258+ pp. R. Anderson Sutton At last, a book on dangdut, and an excellent one. It is hard to imagine that anyone with experience in Indonesia over the past thirty-five years could be unaware of dangdut and its pervasive presence in the Indonesian soundscape. The importance of this music was first recognized in the international scholarly world by William Frederick in his landmark article on Rhoma Irama in the pages of this journal almost thirty years ago.1 Other scholars have devoted chapters to dangdut,2 but it is only with this meticulously researched and engagingly written book-length study by Andrew Weintraub that we have the important combination of perspectives—historical, musicological, sociological, gender, and media/cultural studies—that this rich and multifaceted form of expression deserves. Weintraub offers this highly informative study under the rubric of "dangdut stories," modestly pointing to the "incomplete and selective" nature of the stories he tells. But what he has accomplished is nothing short of a tour de force, giving us a very readable history of this genre, and untangling much about its diverse origins and the multiplicity of paths it has taken into the first decade of the twenty-first century. Near the outset, following three telling vignettes of dangdut events he observed, Weintraub explains that the book is a "musical and social history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post independence Indonesia" (p. -
"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. -
1 What Is World Music? Fact Sheet
1 What is World Music? Fact Sheet If you’re wondering just what in the world is World Music, don’t worry or stress; it’s not a mystery, it’s just a term we use. World Music or global music, is music from all over the planet, right? Well, you would be correct, except it usually doesn’t include any music that would fit in a regular Top 40 pop chart! The term “World Music” was coined by an ethnomusicologist named Robert Brown. He developed college programs of study about World Music, and organized a concert series with visiting performers from Africa and Asia. In 1982, France initiated World Music Day (“Fête de la Musique”) which would continue on June 21st of every year to the present day. The genre didn’t really take off until June 29, 1987, when a group of record company executives got together. They were meeting because they were trying to deal with the unexpected surge in non-English language recordings. These record label executives were having a difficult time finding rack space in their stores for new releases from LatinAmerican, Asian, African, and other international artists. They needed to develop a catchy generic, “umbrella” name for this music, and launch a marketing campaign. With a show of hands, World Music was officially born as a genre, and October 1987 was designated “World Music Month!” Leading up to this new genre Paul Simon had released the album Graceland in 1986 which was a huge success and featured artists from southern Africa, including Ladysmith Black Mambazo. -
Leon Russell – Primary Wave Music
ARTIST:TITLE:ALBUM:LABEL:CREDIT:YEAR:LeonThisCarneyTheW,P1972TightOutCarpentersAA&MWNow1973IfStopP1974LadyWill1975 SongI Were InRightO' Masquerade &AllBlueRussellRope The Thenfor Thata Stuff CarpenterYouWoodsWisp Jazz LEON RUSSELL facebook.com/LeonRussellMusic twitter.com/LeonRussell Imageyoutube.com/channel/UCb3- not found or type unknown mdatSwcnVkRAr3w9VBA leonrussell.com en.wikipedia.org/wiki/Leon_Russell open.spotify.com/artist/6r1Xmz7YUD4z0VRUoGm8XN The ultimate rock & roll session man, Leon Russell’s long and storied career included collaborations with a virtual who’s who of music icons spanning from Jerry Lee Lewis to Phil Spector to the Rolling Stones. A similar eclecticism and scope also surfaced in his solo work, which couched his charmingly gravelly voice in a rustic yet rich swamp pop fusion of country, blues, and gospel. Born Claude Russell Bridges on April 2, 1942, in Lawton, Oklahoma, he began studying classical piano at age three, a decade later adopting the trumpet and forming his first band. At 14, Russell lied about his age to land a gig at a Tulsa nightclub, playing behind Ronnie Hawkins & the Hawks before touring in support of Jerry Lee Lewis. Two years later, he settled in Los Angeles, studying guitar under the legendary James Burton and appearing on sessions with Dorsey Burnette and Glen Campbell. As a member of Spector’s renowned studio group, Russell played on many of the finest pop singles of the ’60s, also arranging classics like Ike & Tina Turner’s monumental “River Deep, Mountain High”; other hits bearing his input include the Byrds’ “Mr. Tambourine Man,” Gary Lewis & the Playboys’ “This Diamond Ring,” and Herb Alpert’s “A Taste of Honey.” In 1967, Russell built his own recording studio, teaming with guitarist Marc Benno to record the acclaimed Look Inside the Asylum Choir LP. -
6-Wire World Music Ensemble
6-wire World Music Ensemble 6-wire is inspired by the historical connection between the erhu, the Chinese 2- stringed violin, and the 4-stringed violin – both essential leading instruments in the East and West. As a Chamber Music America grantee with unique instrumentation, the Delaware-based world music ensemble is a site-specific, pioneering American ensemble featuring 8 core members that mix traditional world music with pop and jazz elements. Founded and directed by the award-winning Chinese-American violinist, composer and producer Xiang Gao, 6-wire celebrates diversity in performance, weaves stories and context into their concerts, and transforms how live instrumental music is experienced. 6-wire offers the options of performing entirely on acoustic instruments or with their own wireless sound system and cutting edge electronic sound libraries designed by sound engineers exclusively for the ensemble. For select concert venues, 6-wire features the circular PianoArc seen during Lady Gaga’s Super Bowl halftime show. Ensemble-in-residence at the University of Delaware since 2010, 6-wire performs internationally in world music concerts, new music festivals, university concert series, community concerts, and for large TV and outdoor events to fulfill its mission: to promote cultural exchange while attracting new audiences with unique repertoire and sounds from around the world. With solid training and professional experience in styles from western classical to pop, 6-wire draws people of all ages to classical and world music concerts. 6-wire’s current concert project, “Conflict Connections”, includes pre/post concert lectures promoting world peace and cultural understanding, bringing artists and musical styles from historically conflicting regions/countries together on stage. -
The George-Anne Student Media
Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 11-2-1976 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (1976). The George-Anne. 812. https://digitalcommons.georgiasouthern.edu/george-anne/812 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. GSC Status Dependent On State Regents Decision By DEBBY DURRENCE Medical College in Augusta. Some private schools, For years Georgia South- though, are called universities ern students have been talking but do not give doctorates. about university status - the Mercer University in Macon possibility of becoming Geor- has only honorary degrees of gia Southern University or the that kind. University of Southern Gero- Other states have chosen to gia. call any school that is not a "If we get a few thousand junior college, a university. more volumes in the library, West Carolina University does we'll get university status." not offer doctorates and they "When we get the new are the same size as GSC. health cottage, we'll be a Alabama, Florida, North Caro- university." lina and Tennessee are nearby And so go the misconcep- states who have this policy. tions held by GSC students. As it is now, all the "It's just not that simple," universities are concentrated in said Dr. -
Compare and Contrast Different Meanings of the Term World Music/World Music
Asian Journal of Social Science Studies; Vol. 4, No. 4; 2019 ISSN 2424-8517 E-ISSN 2424-9041 Published by July Press Compare and Contrast Different Meanings of the Term World Music/World Music Xueqian Li1 1 The University of Kent, Kent, United Kingdom Correspondence: Xueqian Li, The University of Kent, Kent, United Kingdom. Received: September 27, 2019 Accepted: November 4, 2019 Online Published: November 6, 2019 doi:10.20849/ajsss.v4i4.664 URL: https://doi.org/10.20849/ajsss.v4i4.664 Abstract With the booming popularity of the music industry today, there has been an equally increasing demand for new or refreshing music types. Over the years, this has a resulted in alternative/non-mainstream music genres gradually being accepted as popular music. To cater for the different tastes of music for consumers, in a world where advancement in technology has accelerated globalization to unprecedented levels, music Creators are producing music that have blurred the boundaries between music genres. On the other hand World Music is one that is seen by many as one which is routed in tradition. In that aspect, world music and popular music can be seen as two contrasting categories. Keywords: world music, pop music 1. Introduction Today, music that falls under the genre of world music takes up a tiny share of the music market, and only small group of audience still appreciate it. Many people just regard this genre of music as a research object in musicology department (Taylor, 1997). However, there are still some people who believe that world music plays a significant role in the development of Western popular music. -
KZSU Chart for the Week Ending 13 May 2007 MAIN
KZSU chart for the week ending 13 May 2007 MAIN # ARTIST ALBUM (LABEL) 1. THES ONE Lifestyle Marketing (Tres) 2. MODEST MOUSE We Were Dead Before The Ship Even Sank (Epic) 3. SISTER VANILLA Little Pop Rock (Chemikal Underground Ltd.) 4. MR GEOFFREY & JD FRANZKE Get A Room (Extreme) 5. MOCHIPET Girls Love Breakcore (Daly City) 6. GOLDFRAPP Ride A White Horse Ep (Mute) 7. COLL Eccentric Soul: Twinight's Lunar Rotation (Numero Group) 8. KK RAMPAGE A Toast In Angel's Blood (Rampage) 9. FUNKSTöRUNG Appendix (!K7) 10. BEATBEAT WHISPER Beatbeat Whisper (Self Release) 11. ALBUM LEAF, THE Into The Blue Again (Sub Pop) 12. GIRLS IN A COMA Girls In A Coma (Self Release) 13. CANSEI DE SER SEXY Css (Sub Pop) 14. COLL Public Safety (Maximum Rock-N-Roll) 15. COLL Messthetics #102: D.I.Y. 78-81 London Ii (Hyped 2 Death) 16. EL-P I'll Sleep When You're Dead (Def Jux) 17. LAAN, ANA Oregano (Random) 18. ZUKIE, TAPPA Escape From Hell (Trojan) 19. BROTHER ALI Undisputed Truth, The (Rhymesayers Ent) 20. WOGGLES, THE Rock And Roll Backlash (Wicked Cool) 21. MANDELL, ELENI Miracle Of Five (Zedtone) 22. ONE AM RADIO, THE This Too Will Pass (Dangerbird) 23. PERSEPHONE'S BEES Notes From The Underworld (Columbia) 24. LADY & BIRD Lady & Bird (Fanatic Promotions) 25. MENOMENA Friend And Foe (Barsuk) 26. VENETIAN SNARES Pink + Green (Sublight) 27. PARTYLINE Zombie Terrorist (Retard Disco) 28. VERT Some Beans & An Octopus (Sonig) 29. HEADS, THE Under The Stress Of A Headlong Dive (Alternative Tentacles) 30. MARLEY, STEPHEN Mind Control (Tuff Gong International) 31. -
Putumayo-Catalog Winter2017.Pdf
CHRISTMAS CHRISTMAS/HANNUKAH ATIN HRISTMAS L C ACOUSTIC CHRISTMAS Spice up the holiday season with festive Latin and Brazilian Beautiful voices and classic English language Christmas songs rhythms. ¡Feliz Navidad! bring the season alive. PUT 363 • ISBN 9781587593956 PUT 340 • ISBN 9781587593512 FRENCH CHRISTMAS NEW ORLEANS CHRISTMAS Experience the beauty of the season with classic and Deck the halls with blues, jazz and swing holiday classics from the contemporary songs from Marseille to Montreal. Big Easy. Joyeux Noel! PUT 256 • ISBN 1587591685 PUT 349 • ISBN 9781587593628 AZZ LUES HRISTMAS J & B C A JEWISH CELEBRATION Swing into the holiday season with this festive collection of Celebrate Hanukkah and other festive holidays with this toe-tapping jazz and blues Christmas songs! medley of klezmer, reggae, ska and more from the Jewish PUT 285 • ISBN 9781587592287 diaspora. L’chaim! PUT 325 • ISBN 9781587593161 HOLIDAY DISPLAYS CELTIC CHRISTMAS Beautiful Irish and Scottish voices, entrancing Celtic instrumentation and classic Christmas carols provide an uplifting soundtrack for the holiday season. PUT 314 • ISBN 9781587592935 Christmas Display (DRS-XMAS) One Title Display (DLC-GEN) Displays 4 titles, 4 of each Displays 10 Cds 6.25”wide x 9”deep x 11.25”high 5.5”wide x 4”deep x 8.25”high 15 cm x 22 cm x 28 cm 14 cm x 10 cm x 21 cm 2 3 NEW RELEASES YOGA NEW! INDIAN GROOVE Traditional Indian flavors meet electronica on this fascinating ACOUSTIC YOGA musical masala! A peaceful musical journey that will soothe your mind and PUT 368 • ISBN 9781587594045 ease your soul. -
Dicaire Eric 2019 Thesis.Pdf
Playing for Change: the Crystallization of Time, Space and Ideology in a Music Video from Around the World By Eric Dicaire A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the degree of Master of Arts in Communication Supervisor: Boulou Ebanda De B’béri In the Department of Communication University of Ottawa © Eric Dicaire, Ottawa, Canada, 2019 PLAYING FOR CHANGE ii Abstract Online music videos have become a space for new cultural articulations. These articulations differ from one video to the next, as each instance mobilizes a particular set of production practices aimed at a specific purpose. From a theoretical standpoint, it is therefore challenging to qualify the broad cultural significance of these media objects. This thesis proposes a potential remedy to this issue, using a theoretical framework based on the theories of articulation, encoding/decoding, and crystallization to assess the cultural significance of an ideologically driven music video produced by Playing for Change—a not-for- profit organization with a mandate of uniting the world through music. These theories reveal how a cosmopolitan ideology is crystallized into the production practices of Playing for Change’s music video “One Love”. Through this theoretical mobilization, I examine the plurality of identities distilled in the music video, since it functions as a political, economic, and ideological object. These identities are crystallized on multiple levels, leading us to question whether complex articulations of this type can ever fully be conceptualized. Ultimately, I argue that the burgeoning field of music video studies must continue exploring theoretical models in order to develop adequate tools for analyzing the various elements, including discursive constructions, which characterize these complex, yet valuable, cultural objects.