DOCSLIB.ORG

Festival Programme 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Festival Programme 2017 Festival Programme 2017 2000/- TSH . Contents 11 4 Festival Timetable 9 Welcome 11 Carnival Parade Carnival Parade 15 15 Festival Artists A-Z 80 Movers & Shakers Festival Artists A-Z 83 Busara Xtra 83 92 Recommended CDs Designed and published by: Busara Promotions PO Box 3635 Zanzibar, Tanzania Busara Xtra Busara photography by: Peter Bennett, Masoud Khamis, Link Reuben, Robin Batista, Jeremy Llewellyn-Jones, Pernille Bærendtsen, fenstein, Jonathan Kalan. 3 . Thursday 9 Feb Friday 10 Feb Carnival Parade (see page 11 for details) 3:20pm Pre parade show at Mnarani 4:30pm Sahra Halgan Trio (Somaliland) 3:20pm 4:20pm Parade departs Mnarani 5:00pm Parade arrives Forodhani Roland Tchakounté (Cameroon / 5:45pm France) 5:15pm Batimbo Percussion Magique (Burundi) Batimbo Percussion Magique 7:05pm (Burundi) 6:00pm Loryzine (Reunion) 7:10pm Afrijam Band (Tanzania) 7:05pm Swahili Encounters (Zanzibar / Various) 8:20pm Loryzine (Reunion) 8:30pm Grace Barbé (Seychelles) 8:30pm Rico & the Band (Zanzibar) 8:30pm Rajab Suleiman & Kithara (Zanzibar) 9:30pm Bob Maghrib (Morocco) 9:50pm Wahapahapa Band (Tanzania) 9:40pm Buganda Music Ensemble (Uganda) 9:50pm Mswanu Gogo Vibes (Tanzania) 11:00pm Sami Dan & Zewd Band (Ethiopia) 10:40pm Jagwa Music (Tanzania) 11:10pm Ze Spirits Band (Tanzania) 11:00pm CAC Fusion (Tanzania) 12:10am (to be announced) 12:00am Sarabi (Kenya) 4 =Main Stage = Amphitheatre = Forodhani 5 . Saturday 11 Feb Sunday 12 Feb 4:30pm Madalitso Band (Malawi) 4:30pm Kiumbizi (Pemba) 5:45pm Imena Cultural Troupe (Rwanda) 5:45pm H_art the Band (Kenya) 7:05pm Chibite Zawose Family (Tanzania) 7:05pm Imena Cultural Troupe (Rwanda) (Zanzibar) Taarab - Kidumbak Group 7:10pm Mcharuko Band 7:05pm (Zanzibar) 8:20pm H_art the Band (Kenya) 8:20pm Karyna Gomes (Guinea Bissau) 8:30pm Sahra Halgan Trio (Somaliland) 8:30pm Usambara Sanaa Group (Tanzania) (Cameroon / (Mozambique) Roland Tchakounté 9:30pm Isau Meneses 9:40pm France) 9:50pm Tausi Women's Taarab (Zanzibar) 9:45pm Madalitso Band (Malawi) 10:50pm Kyekyeku (Ghana) 11:00pm Simba & Milton Gulli (Mozambique) (Zanzibar) Cocodo African Music Band 11:20pm Matona's G Clef Band 11:00pm (Tanzania) Pat Thomas & Kwashibu Area 12:10am 12:20am Rocky Dawuni (Ghana) Band (Ghana / Germany) 6 =Main Stage = Amphitheatre = Forodhani 7 . Bringing bands from different Words of Welcome countries of Africa together in one It’s all about unity. Our theme place is powerful. This is something this year is #AfricaUnited. Music we need to do more often” connects: people to people, heart to heart. In a world that’s “ Nneka (Nigeria) increasingly divided, music reaches across borders and brings us together. Witness the power of music at Sauti za Busara, 100% live. At the same time, the festival creates employment, builds skills and livelihoods. As always, a rich and diverse musical feast is promised. Strong women and independence are celebrated For these blessed and unique with top singer-songwriters moments in February we stand from Guinea-Bissau, Seychelles, proud in our diversity, united in and Somaliland. The swirling music, together as one. Forget and evocative sounds of your troubles, feel the magic and Zanzibar taarab are fêted be inspired. alongside African blues and hiphop pioneers, boy-bands and With thanks for your support - urban-ghetto sensations from and best wishes to all, welcome mainland East Africa, conscious to Sauti za Busara 2017. reggae vibrations from Morocco to Ethiopia, highlife and afrobeat masters from Ghana, electric and eclectic musical fusions aplenty - and more you will read Yusuf Mahmoud about in these pages. Festival Director 8 Sauti za Busara 2017 #AfricaUnited 9 . Creativity is life Carnival Parade Thu 12 Feb, Michenzani to Forodhani 3:00pm Parade participants assemble 3:20pm Batimbo Drummers of Burundi performance 4:20pm Parade 5:00pm departs Mnarani Parade arrives Forodhani timings approximate CREATIVITY INSPIRES COLLABORATION CREATIVITY INSPIRES ACTION The starting point and first show of the festival is at Mnarani, near Africalia partners with artists and Africalia’s philosophy is in line with Michenzani Roundabout (approx 2km from the Old Fort). cultural organisations in Africa. the Cotonou Agreement, the UNESCO Africalia works with more than 20 Convention on Cultural Diversity, organisations and networks in 8 sub- the Sustainable Development Goals and From 3:00pm participants will begin to assemble and limber up. Saharan African countries: Burkina Faso, the Paris Declaration on Aid Effectiveness. Burundi, the Democratic Republic This is a good time for taking photographs - before the parade of Congo, Kenya, Rwanda, Senegal, Africalia has acquired signifi cant starts moving! Rich cultural identities against an urban backdrop. South Africa and Zimbabwe. expertise in cultural cooperation, and 80% of our budget goes to the activities Our partners are active in various creative of our partners in Africa in order to: © Andrea Frazzetta Then, as a special treat this year, we kick off Sauti za Busara 2017 sectors: audiovisual, performing arts, – support the governance of cultural literature and visual arts. organisations, with a spectacular group of traditional drummers from Burundi. – strengthen technical, artistic and Each partnership is based on mutual management skills through training, respect and on a sustainable, long-term – encourage democratic debate through collaboration. participation in cultural life, – promote access to and participation in culture for everyone. © HIFA Rue du Congrès 13 Congresstraat – 1000 Brussels – T +32 2 412 58 80 [email protected] – www.africalia.be 10 Sauti za Busara 2017 . #AfricaUnited 11 If we want to solve problems in Africa we have to sing to people in Africa” “ Kyekyeku When the parade sets off, everyone is welcome to join in (or follow on) as it shakes and rocks the streets of town to Forodhani. Expect Capoeira and Kilua dancers, stilt-walkers and acrobats, beni brass bands, Mwanandege ‘umbrella ladies’, Maasai and Reki warriors, a kaleidoscope of people of all ages. Feel free to dress up with feathers and face paint - if you are inclined. Join in, have fun, show your smile and make some noise! 12 Sauti za Busara 2017 Children on the beach at Kizimkazi#AfricaUnited Dimbani 13 . Festival Artists A-Z Afrijam BAND Tanzania fusion, jazz, reggae Fri 10 Feb, 7:10pm Amphitheatre In 2008, Misoji Nkwabi was a winner of Bongo Star Search, a nationwide singing competition in Tanzania. The same year, she recorded an album of her songs “Utu wa Mtu” (Dignity of www.musicinafrica.net a person). The album consisted of 12 songs carrying different themes, mainly social and health issues affecting young Information and exchange portal Tanzanians. for the African music sector Misoji is grounded in choral music, performing from a young age with her family; her mother was an organ player in their church. Growing up, she started performing renditions of Nkwabi worked with Mombots other artists at different venues. Production in film and musical Music has always been her performances in Germany passion. in 2009. She is a performing She formed Afrijam Band in 2014 and visual arts graduate from and performed in festivals in TaSUBa in Bagamoyo. Tanzania including Karibu Music Recordings: Utu wa Mtu 2009; Festival, Marahaba Festival and Usawa 2014 Bagamoyo Festival. In her band, she sings with her sisters Nsami /Misoji-Nkwabi-and- and Nshoma. Afrijam-1520448294936766/ 14 Kusoma wasifu kwa Kiswahili angalia busaramusic.org Forty-four performances over four days - 100% live 15 . B ATIMBO PERCUSSION MAGIQUE BO B MAGHRIB Burundi Morocco traditional fusion, reggae Thu 9 Feb, 3:20pm Mnarani Stage Fri 10 Feb, 9:30pm Main Stage Thu 9 Feb, 5:15pm Forodhani Fri 10 Feb, 7:05pm Main Stage Bob Maghrib is a collective of After touring Morocco, Egypt Batimbo Percussion Magique the “Peace and Rehabilitation musicians launched in 2011 who and Europe, the collective is is a fantastic traditional Project” as organised by the represent Morocco’s current working on their first album with ngoma group from Burundi, Centre for Young Kamenge that music scene. The collective their own compositions. The a landlocked country in the focuses on community building. revisits Bob Marley’s most album will have a unique sound African Great Lakes region They are also engaged by the revolutionary, pioneering songs. that connects North African of East Africa. Known for National Tourism Office to music such as Gnawa and Berber The collective’s approach to with Jamaican rhythms. its massive drums and entertain tourists at Bujumbura their style of music is to marry traditional ngoma styles, International Airport and other the rhythms and melodies of Recordings: 2012 So Much Batimbo Percussion Magique locations. Bob Marley and the Wailers Trouble in the World (Single); group showcases the unique with the rhythms and melodies 2013 Africa Unite (Single) cultures with strong identity /public/Batimbo- Percussion-Magique of Morocco. In this creative of the Burundi people. They process great care is taken in http://bobmaghrib.com have participated in many with thanks to order not to change or replace with thanks to competitions in and outside but merge the two cultures that of Burundi and won several are very close to their common prizes. The group is involved in African origin. 16 Kusoma wasifu kwa Kiswahili angalia busaramusic.org Forty-four performances over four days - 100% live 17 . Buganda Music ENSEMBLE Uganda acoustic, traditional Fri 10 Feb, 9:40pm Amphitheatre P R R O O F P DEA L O L D A L Networking S LI S N O A A P E C L O Showcase Festival R * S P * 17 MARCH R 2017 Trade Fair E A A E Y RL S IER THI Conference Films Awards virtualWOMEX Buganda Music Ensemble was amadinda and vocals - a multi- founded in 2004 and led by instrumentalist par excellence, Albert Bisaso Ssempeke Jr. the equipped with a magnetic voice son of the legendary Dr.
Load more

Recommended publications
  • Kaya Hip-Hop in Coastal Kenya: the Urban Poetry of UKOO FLANI
    Page 1 of 46 Kaya Hip-Hop in Coastal Kenya: The Urban Poetry of UKOO FLANI By: Divinity LaShelle Barkley [email protected] Academic Director: Athman Lali Omar I.S.P. Advisor: Professor Mohamed Abdulaziz S.I.T. Kenya, Fall 2007 Coastal Cultures & Swahili Studies Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 2 of 46 Table of Contents Acknowledgements………………………………………..………………….page 3 Abstract……………………………………………..…………………………page 4 Introduction…………………………………..……………………………pages 5-8 Hip-Hop & Kenyan Youth Culture Research Problem Status of Hip-Hop in Kenya Hypotheses The Setting……………………………….………………………………pages 9-10 Methodology: Data Collection……………………………………..…pages 10-12 Biases and Assumptions………………………..………...…………...pages 13-14 Discussion & Analysis…………………………………………………pages 14-38 Ukoo Flani ni nani? Kaya Hip-Hop Traditional Role of Music in African Culture Genesis of Rap/Hip-hop in American Ghettoes The Ties That Bind Kenyan Radio The Maskani Ghetto Life Will the real Ukoo Flani please stand up? Urban Poetry: Analyzing Ukoo Flani’s Lyrics Conclusion…………………………..……………………….…………pages 38-42 Conclusion Part I: The Future of Ukoo Flani Conclusion Part II: Hypotheses Results Conclusion Part III: Recommendations for Future SIT Students Bibliography………………………………………………..…………..pages 43-44 Interview/Meeting Schedule………………………………………………page 45 ISP Review Sheet…………….……………………………………….……page 46 Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 3 of 46 Acknowledgements First and foremost, I would like to thank the entire Ukoo Flani crew for their contributions to my project. I am fascinated by your amazing talent and dedication to making positive music to inspire future generations. I am amazed at what you have been able to accomplish despite limited access to resources.
    [Show full text]
  • Dancing to the Beat of the Diaspora: Musical Exchanges Between Africa and Its Diasporas
    African and Black Diaspora: An International Journal ISSN: 1752-8631 (Print) 1752-864X (Online) Journal homepage: http://www.tandfonline.com/loi/rabd20 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza To cite this article: Paul Tiyambe Zeleza (2010) Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas, African and Black Diaspora: An International Journal, 3:2, 211-236, DOI: 10.1080/17528631.2010.481976 To link to this article: http://dx.doi.org/10.1080/17528631.2010.481976 Published online: 23 Jun 2010. Submit your article to this journal Article views: 398 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rabd20 Download by: [US International University - Africa] Date: 01 November 2016, At: 01:09 African and Black Diaspora: An International Journal Vol. 3, No. 2, July 2010, 211Á236 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza* Loyola Marymount University of Los Angeles, Los Angeles, California, USA This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afro- internationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities.
    [Show full text]
  • Gender Dimensions in Emerging African Music Genres: a Case of Kenyan Local Hip Hop
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 5, Ser. 9 (May. 2019) 54-61 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Gender Dimensions in Emerging African Music Genres: A Case of Kenyan Local Hip Hop Pamela N.Wanjala Shamberere Technical Training Institute P.o Box 1316, Kakamega, Kenya Abstract: The question of gender bias is now seen as a major challenge in almost every discipline that deals with human behavior, cognition, institutions, society and culture. Therefore, this paper was an attempt to investigate gender dimensions in the emerging African genres; a case study of local hip hop songs in Kenya. It discussed the extent to which hip hop language is gender biased. It focused on the popular local hip hop songs and video images that occur with the songs. The study used the Social Semiotic Theory in the theoretical framework. Ten hip hop songs and ten video excerpts were purposively selected for analysis. The hip hop songs were coded according to the name of the artist and year of production. The data was analyzed under three sections: Linguistic analysis, Image analysis and Gender analysis. The study revealed that indeed there is gender bias in the language of the favourite youth culture. This was revealed in the lexis that distinguishes gender, in the syntactic analysis and also in the image analysis. It was found that in hip hop music, men tend to be regarded higher in terms of roles, occupation and general human traits like strength and control than women. The study therefore recommends that radio and television stations, and other advertising agencies should join the battle for women liberation by using gender sensitive language and focusing on positive and constructive societal changes in terms of gender roles.
    [Show full text]
  • Global Hip-Hop Class
    AAAS 135b: GLOBAL HIP-HOP Wed 6:30-9:20 pm Mandel G03 Spring 2012 Wayne Marshall [email protected] office hours: by appointment DESCRIPTION Examining how hip-hop travels and is embraced, represented, and transformed in various locales around the world, this course approaches hip-hop as itself constituted by international flows and as a product and set of practices that circulate globally in complex ways, cast variously as American, African-American, and/or black, and recast through the cultural logics of the new spaces it enters, the soundscapes it permeates. A host of questions arise when we consider hip-hopʼs global scope and significance: What does the genre in its various forms (audio, video, sartorial, gestural) carry beyond the US? What do people bring to it in new local contexts? How are US notions of race and nation mediated by hip-hop's global reach? Why do some global (which is to say, local) hip-hop scenes fasten onto the genre's well-rehearsed focus on place, community, and righteous opposition to structural and representational forms of violence, while others appear more enamored with slick portrayals of hustler archetypes, cool machismo, and ruggedly individualist, conspicuous consumption? How can hip-hop circulate in such contradictory forms? In what ways do hip-hop scenes differ from North to South America, West to East Africa, Europe to Asia? What threads unite them? In pursuit of such questions, we will read across the emerging literature on global hip- hop as we explore the growing resources available via the internet, where websites and blogs, MySpace and YouTube and the like have facilitated a further efflorescence of international (and peer-to-peer) exchanges around hip-hop.
    [Show full text]
  • TRACEPLAY-PRESS-KIT-2017.Pdf
    EDITOR “Our audience and urban creators were looking for a single platform that offers the best urban music and entertainment on all connected devices, all over the world. TracePlay is our answer to this request”. OLIVIER LAOUCHEZ CHAIRMAN, CEO AND CO-FOUNDER OF TRACE GROUP SUMMARY 1/ THE APP 03 TRACE PRESENTS TRACEPLAY 04 AN OFFER THAT FULLY INCLUDES URBAN MUSIC 2/ THE EXPERIENCE 05 LIVE TV: 9 TRACE MUSIC TV CHANNELS + 1 TV CHANNEL DEDICATED TO SPORT CELEBRITIES 06 LIVE RADIOS : 31 THEMATIC TRACE RADIOS 07 SVOD & ORIGINALS : OVER 2000 URBAN ASSETS 3/ THE OFFER 08 PRICES 09 DEVICES 10 GEOGRAPHICAL DISTRIBUTION APPENDIX: TRACEPLAY PROGRAM CATALOGUE 2017 WWW.TRACEPLAY.TV 1/ THE APP 1.1 TRACE PRESENTS TRACEPLAY TracePlay is the first subscription-based service entirely dedicated to urban and afro-urban music and entertainment. The App is available worldwide on most THE BEST RADIOS connected devices and offers an instant Afro-urban series, movies, documentaries 30 radio channels covering the various urban and unlimited access to 10 live TV chan- and concerts. and afro-urban genres. nels, 30 live radios and more than 2000 on demand programs. LIVE TV EXPLORE Watch the 9 best urban and afro-urban music channels Browse by region, topic, genre or mood and the #1 sport celebrities channel to make your choice. ON DEMAND Instant access to more than 2000 selected programs including originals. TV | RADIO | DIGITAL | EVENTS | STUDIOS | MOBILE | MAGAZINE TRACEPLAY | PRESS KIT 2017 03 1/ THE APP 1.2 AN OFFER THAT FULLY INCLUDES URBAN MUSIC TracePlay leverages Trace’s 14 years expertise in music scheduling to offer a unique music experience: all Urban, African, Latin, Tropical and Gospel music genres are available and curated on a single App for the youth who is 100% connected.
    [Show full text]
  • The Challenges of Reinvigorating Democracy Through Visual Art in 21St Century Nairobi
    The challenges of reinvigorating democracy through visual art in 21st century Nairobi Craig Campbell Halliday 30 September 2019 Dissertation Submitted in Partial Fulfilment for the Degree of Doctor of Philosophy Sainsbury Research Unit for the Arts of Africa, Oceania & the Americas School of Art, Media and American Studies University of East Anglia, Norwich This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract This study examines the potential for contemporary visual art to reinvigorate democracy in 21st century Nairobi, Kenya, through an interdisciplinary investigation. The new millennium ushered in fresh hope for democratisation in the postcolonial East African country. In 2002, Daniel arap Moi’s 24 years of authoritarian rule ended. The opposition were victorious at the ballot box, instilling a belief amongst the electorate that formal political processes could bring change. However, the post-election violence of 2007/8 shattered such convictions. But, from this election result came a progressive Constitution and with it possibilities for creating change. These momentous events underscore Kenya’s topsy-turvy path towards democracy – a path whose trajectory is charted in the experience of ordinary Kenyans who believe in democracy’s value and their right to participate in politics and civil life. Artists, too, have been at the forefront of this ongoing struggle. This study draws on empirical research to demonstrate contemporary visual art’s capacity to expand ways of practising, experiencing and understanding democracy.
    [Show full text]
  • Créolité and Réunionese Maloya: from ‘In-Between’ to ‘Moorings’
    Créolité and Réunionese Maloya: From ‘In-between’ to ‘Moorings’ Stephen Muecke, University of New South Wales An old Malbar is wandering in the countryside at night, and, seeing a light, approaches a cabin.1 It is open, so he goes in. He is invited to have a meal. No questions are asked; but he sings a ‘busted maloya’ [maloya kabosé] that speaks of his desire to open his wings and fly away, to accept the invitation to sleep in the cabin, to fall into the arms of the person narrating the ballad, and to weep. The whole company sings the ‘busted maloya.’2 Malbar is the name for Tamils descended from indentured labourers from parts of South India including the Malabar Coast and Pondicherry, where the French had another colony. Estimated to number 180,000, these diasporic Tamils had lost their language and taken up the local lingua franca, Creole, spoken among the Madagascans, French, Chinese and Africans making up the population of Réunion in the Indian Ocean. Creole, as a language and set of cultural forms, is not typical of many locations in the Indian Ocean. While the central islands of Mauritius, the Seychelles, Rodriguez, Agalega, Chagos and Réunion have their distinct varieties of French Creole language, Creole is not a concept that has currency in East Africa, Madagascar or South Asia. Versions of creolized English exist in Northern and Western Australia; at Roper River in the 1 Thanks to Elisabeth de Cambiaire and the anonymous reviewers of this paper for useful additions and comments, and to Françoise Vergès and Carpanin Marimoutou for making available the UNESCO Dossier de Candidature.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Universal Music Group and Leading African Streaming Service Boomplay Expand License to Cover 47 Countries Across the Continent
    UNIVERSAL MUSIC GROUP AND LEADING AFRICAN STREAMING SERVICE BOOMPLAY EXPAND LICENSE TO COVER 47 COUNTRIES ACROSS THE CONTINENT Home > News > Universal Music Group and leading African streaming service Boomplay expand license to cover 47 countries across the continent New licensing agreement will significantly boost the availability of UMG’s African and International repertoire to music fans across Africa New markets include South Africa, Ethiopia, Côte d’Ivoire, Cameroon and Senegal; with UMG catalog now also widely available across French-speaking territories for first time LAGOS and SANTA MONICA, March 17, 2021 – Boomplay, the leading music streaming and download service based in Africa and Universal Music Group (UMG), the world leader in music-based entertainment, today announced a new landmark licensing agreement that will extend licensing of UMG’s global music catalog from 7 to 47 countries across the African continent, as part of an extended relationship that will benefit African musicians and talent and expand the listening experience for Boomplay users across Africa. In 2018, UMG became the first major global music company to license music to the service, which has continued to grow its audience reach and influence across Africa in recent years. Boomplay’s catalog currently stands at more than 50 million tracks and it boasts the largest repertoire of local African content globally, with 50million monthly active users (MAU). The renewal and expansion of this licensing deal with UMG, will enable African music fans across the continent to experience the best in both domestic African and International talent. As one of the first entrants in Africa, Boomplay has been at the forefront of the music streaming market since 2015 and has a deep understanding of the local market.
    [Show full text]
  • Digital Bootcamp Songwriting Workshop
    March 2019 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 35, No 3 PHOTO BY LISA MACINTOSH LISA BY PHOTO Kingston’s Miss Emily is at Hugh’s Room Live March 8, Drom Taberna March 9 [Songwriting Workshop] and just confirmed for the Women’s Blues Revue November 29 CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 Digital Bootcamp John’s Blues Picks Songwriting Workshop Loose Blues News Remembering Jackie Shane Event Listings TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2019 BOARD OF DIRECTORS Derek Andrews (President), Janet Alilovic, Jon Arnold, Matt Douris, Lucie Dufault (Vice-President), Carol Flett (Secretary), Sarah French, Lori Murray, Ed Parsons, Paul Sanderson, Mike Smith, Earl Tucker, John Valenteyn (Executive) Musicians Advisory Council: Brian Blain, Gary Kendall, Samantha Martin, Lily Sazz, Mark Stafford, Jenie Thai, Suzie Vinnick,Ken Whiteley Fundraising Committee: Derek Andrews, Jon Arnold, Mike Smith Volunteer & Membership Committee: Lucie Dufault, Sarah French, Rose Ker, Mike Smith, Ed Parsons, Carol Flett Grants Officer: Barbara Isherwood Office Staff: Hüma Üster (Office Manager) Amanda Rheaume (Project Manager) Publisher/Editor-in-Chief: Derek Andrews Managing Editor: Brian Blain [email protected] Contributing Editors: John Valenteyn, Janet Alilovic, Hüma Üster, Carol Flett Listings Coordinator: Janet Alilovic Mailing and Distribution: Ed Parsons Become a member of the Toronto Blues Society, and get connected with Canada's premier blues Advertising: Dougal Bichan events, releases, and our great blues community.
    [Show full text]