Master Musician of India

Ustad Ali Akbar Khan - Master Musician of India

released on LP in 1966

The title of Chandranandan alludes to the Hindi words "chandra" (moon) and "nandan" (son). Accordingly, it is evening music, and introspective rather than romantic. After the briefest possible alap the basic rhythmic pattern of sixteen beats (teental) is set by the tabla. This particular performance unfolds first in vilambit laya (slow rhythm), gaining momentum with the ensuing madhya laya (moderate rhythm), then breaking into drut laya (fast rhythm). An unusual feature here, beginning about three-quarters of an inch from the end of the side, is the yugal-bandi ("yugal", concert; "bandi", a sort of contest) or question-and-answer exchange in which the sarodist and tabla player "talk" to each other, the latter replying to the former in precisely the same "words", mutatis mutandis. Not once in the heat of this episode do the artists traduce the fundamental teental; the "questions" are exactly eight beats long and the "answers" begin on the ninth beat and end on the sixteenth. Nor does this fidelity to the rhythm waver in the ati-drut (very fast) peroration, which readers such an overwhelming climax that one of the invited guests at the recording session could not forebear from applause despite a strict injunction. The engineers could not edit out the spontaneous first moment of this reaction without doing violence to the recording., and so it is still there to be heard, at the very end of the side.
The word "Gauri" is a proper female name; the prototype was the wife of none less than Lord Shiva, the Hindu deity who was among other things god of the arts. The word "manjari" means flower petals.Gauri Manjari, then, one may take to be an artist's offering to his muse. Properly under these circumstances, it is not one of the thrice-familiar ragas. It is in fact one of the aprachalit ones - "unpopular" is the translation but in the sense that it is relatively new and known only to Ali Akbar Khan's audiences. Being without benefit of tabla, this recorded performance seems to be all alap. In truth it is a complete but compact ragini. There is no rhythmic pattern, but in the absence of beats there is a clearly defined pulse and a feeling of laya (which alludes to bar-lines; the teental units on the overside contain four layas each). When this pulse quickens, about one inch in on the side, we are in the jor, corresponding very roughly to what we would call the development section. Less than another inch later we are precipitated into the concluding jhala, which emphasizes overtones and Beethoven-like patterns of repeated notes and dazzling pyrotechnics all contained within the compass of the ragini as initially stated by the composer-performer.  (James Lyons from the liner notes)

Chandranandan and Gauri Manjari are both raginis (female). The playing time for Chandranandan is between 8 P.M. and 3 A.M. It has three expressions of human feelings (rasas); they are Karuna (pathos), Bhakti (devotion), and Sringara (love). In the beginning, the melody creates the pathetic emotion, and then leads to the expression of devotion. When the Bhakti or devotion is settled and established in the tune, then through a change of notes, but maintaining the same ragini, it takes us into the feeling of love. And that is Sringara. This Sringara rasa is not bound by the carnal desires. It is a love which is based above that; the love which comes through the pains of life and the devotion of life.
Gauri Manjari is composed of Bhakti (devotion), Karuna (pathos), and Vir rasa (the rasa of strength), mixed with very little Sringara. The time for this music is between 9 P.M. and 2 A.M. Gauri Manjari begins with a feeling of uneasiness of mind, and then, gradually, the rasas will bring the other feelings one by one, and end in the notes of happiness.
These two raginis took several years to compose. They are my original creations. I have taken the characteristics of many ragas and raginis and mixed them, and created a new color and character. This is the final shape and expression of the tunes.  (Ustad Ali Akbar Khan)

Tracklisting:

Side 1

1.  Raga Chandranandan  {21:28}
Ustad Ali Akbar Khan - sarod ; Pandit Mahapurush Misra - tabla ; Anila Sinha - tanpura

Side 2

1.  Raga Gauri Manjari  {19:07}
Ustad Ali Akbar Khan - sarod ; Anila Sinha - tanpura

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Music of the Middle East

 

The John Berberian Ensemble - Music of the Middle East

released on LP [no date given]

John Berberian - oud

Hachig Kazarian - clarinet

Emin Gunduz - canun

Souren Baronian - clarinet, saxophone, bongos

John Valentine - guitar

Bob Tashjian - dumbeg & vocals

Chet Amsterdam - bass

Steve Pumilian - finger cymbals & dumbeg

From the liner notes by Peter Spargo:

In the last few years, there has been an accelerated growth in the popularity of music from the Middle East, and not only amongst those whose ancestors emigrated from this area. There are many in this country, whose backgrounds and cultures are completely dissimilar from those of the Middle East, who find this style of music highly original and complex rhythms very exciting.

There are numerous reasons for its popularity. The proximity of travel has brought many travelers closer to the culture of the Middle East. At first, the music might sound a little strident, but, eventually, the foreign ear finds it captivating and stimulating, principally attracted by their cogent use of complicated rhythms.

It is obvious that these unusual rhythms are beginning to find their way into American music, especially in the jazz idiom, for in the past decade, these Middle Eastern rhythms and harmonic structures have been a definite influence in modern jazz.

The principal reason for its growth in stature in this country is when it is performed by a consummate group of young musicians. John Berberian's ensemble is made up of youthful, articulate exponents of Middle East music, who also incorporate fresh new concepts into this exciting music.

John Bernerian is undoubtedly one of the finest artists on the oud. Not only are his solos breathtaking, but his support for the rest of the ensemble has an inner drive that keeps everything together and always moving. The repertoire is made up of some of the most popular melodies that are known throughout the Middle East, and in this country as well.

Tracklisting:

Side 1

1.  Dale Dale  {3:53}

2.  Hijazker Longa  {3:38}

3.  Chifte-Telli  {5:19}

4.  Nehevent Longa  {3:58}

Side2

1.   Oud Solo  {4:20}

2.  Gamavor Zimvor  {2:47}

3.  Tsamiko  {4:25}

4.  Samra Ya Samra  {7:10}
vocal by Bob Tashjian

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World Library of Folk & Primitive Music: India

various artists compilation - World Library of Folk & Primitive Music: India

Recorded in India and originally edited with translations and photographs by Alain Danielou, former Professor of Music, University of Benares. Originally released as Volume XIII in the Columbia World Library of Folk and Primitive Music, compiled and edited by Alan Lomax.

released on CD in 2002

Originally recorded in the 1950s by author, painter, and Hindu philosopher Alain Danielou, this collection is the first of its kind to be published and offers a glimpse into the colorful and varied tradition of Indian music, including sacred temple songs, classical improvisations, and popular art music.

From the introduction by Nazir Jairazbhoy and Amy Catlin:

Alain Danielou had an extremely high regard for Indian music and in this record wanted to display "the exceptional culture of the common man in India." He felt that the most "naive forms of village music" (i.e. folk songs performed by non-specialists) would be detrimental to his purpose and thus included a then-unprecedented variety of performances mostly by specialists musicians, both professional and nonprofessional. Although other ethnomusicologists before him had conducted musical surveys and collected field recordings for scholarly and archival purposes (notable Edgar Thurston, A. H. Fox-Strangways, and Arnold Bake), this collection by Danielou appears to be the first anthology of its kind to be published. It is being reissued here because of both its historical importance and its unique variety of recordings of Indian music.

Most of the recordings were made either in the region of Benares (now Varanasi) or Madras (now Chenai). Nevertheless, the performers represent several other regions as well. As Danielou wrote, "Benares is a centre of pilgrimage where one meets popular musicians coming from all over India. It is also a stronghold of traditional Hindu society where traditional musical forms resist modern influence." Moreover, there is a significant Muslim population in Benares, which accounts for the Muslim qawwali that he also recorded there. One exception is, however, the example of Gond music that was recorded in Nagpur (Madhya Pradesh) by All India Radio.

The different types of music in this anthology can be grouped into four main categories:

I. Archaic survivals (tracks 3, 4, 8)
II. Religious and devotional (tracks 2, 5, 6, 7, 13)
III. Instrumental classical, light classical, and folk (tracks 1, 9, 10, 11, 12, 18)
IV. Drama (tracks 14, 15, 16, 17)


Tracklisting:

1.  Raghunatha Prasanna and group - Dhun  {3:31}
    three sahani with khurdak drum; recorded in Benares

2.  Kedarnath - Kajari  {3:04}
    vocal with dholak and jhori; sung in Mirzapur style; recorded in Benares

3.  Nanku and Bachau - Viraha  {3:10}
    vocal duet with nagara; sung in a Hindi dialect; recorded in Benares

4.  Mundan, Harilal, and Kasavar - Ahir Dance  {2:21}
    nagara, dukkar, and gong; recorded in Benares

5.  Muhammad Usman, Raza, and Saukat Ali - Qawwali  {3:06}
    a Muslim song of Northern India; vocal group with dholak and Indian harmonium; sung in Urdu; recorded in Benares

6.  Haripada Devanatha - Baul Song  {3:30}
    solo vocal with dotara; sung in Bengali; recorded in Benares

7.  Mahadeva Giri and Munna Giri - Bhajana  {3:19}
    vocal group with ekatara and percussion; sung in Hindi; recorded in Benares

8.  members of the tribe of Gonds, Nagpur region - Gond Song  {1:47}
    vocal group; sung in Gondi; recorded in Nagpur, 1952

9.  Raghunatha Prasanna - Thumri  {3:18}
    flute with khurdaka and vina; recorded in Benares

10. Satyavolu Madhava Rao - Raga Kamavardhani  {2:39}
    South Indian vina

11. Narayana Das Mishra - Gat  {2:56}
    Raga Brindavani-Sarang; sarangi and tabla; recorded in Benares

12. Swami D. R. Parvatikar - Svaramandala  {3:05}
    svaramandala solo; recorded in Deccan

13. T. M. Krishnaswamy Iyer - Alwar Song  {3:10}
    vocal, tambura, sruti peti; sung in Tamil' recorded in Madras

14. Kathakali ensemble of Gopinath - Kathakali  {1:24}
    drum and cymbal ensemble; Malabar dance drama; recorded in Madras

15. N. Paramasiva - Kathakali (Part 2)  {3:36}
    drum and cymbal ensemble; sung in Malayalam

16. Kapali, Pushparaja, Ghandi, and Thangaraja - Tamil Drama [1]  {1:59}
    Invocation to the Fish-Eyes Goddess; vocal group, sruti peti and percussion; sung in Tamil; recorded south of Madras

17. Kapali, Pushparaja, Ghandi, and Thangaraja - Tamil Drama [2]  {1:12}
    Challenge by the Demon Naraka to the King of Heaven, Devendra; vocal group, sruti peti and percussion

18. Narayana Pande - Dholak  {0:59}
    dholak solo; recorded in Benares


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China's Instrumental Heritage

Professor Liang Tsai-Ping and His Group - China's Instrumental Heritage

released on LP

The CHENG, of the silk group, is similar to a zither. It has sixteen strings stretched over sixteen frets on an oblong wooden sound box. It is said to have originated in the Ch'in dynasty (221-206 B.C.), and therefore it is sometimes called the ch'in cheng. Apparently the earliest form of the instrument, in the Ch'in and Han dynasties, had twelve strings. Later, the thirteenth to sixteenth strings were added. The strings were originally silk, but brass ones have also been used since the late Ming and early Ch'ing dynasties (about 1650). The cheng was introduced into Japan in its thirteen-stringed form and called koto. The Korean and Vietnamese also imported the cheng from China. Recently, the instrument has been vigorously revived by Professor Liang Tsai-Ping, who was born in Kaoyang, Hopei, in 1911, and a promising period for the instrument is beginning.

The HSIAO, the vertical flute, of the bamboo group, is a bamboo pipe, originally dark or light brown in color, about 22 inches long. It has five holes along the upper side and one along the under side.

The SHENG, of the gourd group, could be called a "mouth pipe-organ." It is distinguished among Chinese instruments by its unique harmonic feature. Along the brim of its gourd base or body there are irregular vertical bamboo pipes. It is played by sucking in the breath at the mouth of each pipe, which leads out of the base or body, very much like the spout of a teapot. The Northern type of Sheng has seventeen pipes and the Southern thirteen. The pipes all have reeds.

The HSUN (sometimes, HSUIN), of the clay group, is an ocarina, one of the most ancient instruments in China. It is made of baked clay and ornamented with designs, clouds, etc. It has six holes, one at the apex to blow through, three in front, and two in back. When it is played, it is held firmly in both hands.

The NAN-HU, the Southern fiddle or violin, of the silk group, is a very popular instrument in China today. Introduced into China proper from neighboring Mongolia, probably in the Yuan dynasty (1280-1368), it has a hollow cylindrical body, one end of which is covered with snake skin while the other is kept open. The body is attached to a long arm over which two strings are stretched. The bow is moved between the strings. (from the liner notes)


Tracklisting:

Side 1

1. P'ing sha lo yen [Wild Geese Alighting on the Sandy Shore] {3:20}
North China folk song of the 17th century; cheng played by Prof. Liang Tsai-Ping, hsiao played by Wong Chen-Hwa

2. Lao sen sao tien [Old Monk Sweeping the Buddhist Temple] {1:57}
North China (Shantung) folk song of the 14th century; sheng played by Liang Ming-Yueh

3. Teng lou [Ascending to the Top of a Tower] {2:25}
North China (Hopei) folk song of the 18th century; cheng played by Liang Min-Shih (Miriam Liang)

4. Pai niao chao feng [Hundred Birds Courting the Phoenix] {2:17}
North China (Honan) folk song of the 17th century; cheng played by Prof. Liang Tsai-Ping, nan-hu played by Lin Pei

5. Yang-kuan san tieh [The Farewell] {2:47}
North China (Shensi) folk song of the 8th century; hsun played by Liang Ming-Yueh

6. Tsu-yu hsing [Freedom March] {4:35}
composed by Prof. Liang Tsai-Ping; cheng played by Miriam Liang

7. Chin shang hua [Flowers on Brocade] {2:23}
North China (Hopei) folk song of the 16th century; cheng played by Prof. Liang Tsai-Ping, hsiao played by Wong Chen-Hwa

Side 2

1. I ku-jen [Remembering an Old, Old Friend] {2:23}
composed by Prof. Liang Tsai-Ping; cheng played by Prof. Liang Tsai-Ping

2. Shu-hua ch'u [Relieving My Heart] {2:57}
composed by Prof. Liang Tsai-Ping; cheng played by Prof. Liang Tsai-Ping, sheng played by Miriam Liang

3. Han ya hsi sui [Winter Ravens Sporting Over the Water] {2:54}
North China (Shensi) folk song of the 10th century; cheng played by Prof. Liang Tsai-Ping, hsiao played by Wong Chen-Hwa

4. Ch'un chiang hua yueh yeh [The Spring River in the Flowery Moonlight] {11:17}
North China (Shensi) folk song of the 7th century; arranged by Prof. Liang Tsai-Ping; cheng played by Prof. Liang Tsai-Ping, sheng played by Liang Ming-Yueh, hsiao played by Wong Chen-Hwa, nan-hu played by Lin Pei

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Tinikling!: Folk Dances of the Philippines

Nitoy Gonzales and His Manila Rondalla - Tinikling!: Folk Dances of the Philippines

released on LP

With the long-awaited independence of the Philippines in 1946, at the close of World War II, the culture of a nation comprised of more than 7,000 islands underwent a remarkable renaissance.

Long forgotten native dance patterns, songs, rhythms and painting and a revived interest in making ceramics all came to the fore in the most exciting decade the Philippines has ever known.

In this beautifully-recorded album produced in the renowned Mico Studios in Manila, Capitol is privileged to offer a top-drawer collection of pop music designed for dancing. All but two of the ten tracks are by Nitoy Gonzales' melodic rondalla orchestra.

A rondalla group is comprised of plucked instruments including the banduria, octavina, laud, bajo and guitar. The banduria is the most important. Shaped like an old English zither, the banduria has six pairs of double strings tuned in fourths from F-sharp to G. It is played with a plectrum. The laud is similar to the banduria except that it has a longer neck, a wider body and a lower pitch. Shaped like a small guitar, the octavina has a mellow tone quality and is tuned like the laud from F-sharp to G, an octave lower than the banduria. The Philippine guitar of the rondalla is a blend of the native kudyapi and the Spanish guitar. Its five strings are tuned E-A-D-G-B. The bajo is a four-stringed bass, tuned E-A-D-G, and played by plucking.

The second group of Philippine instruments are those of the Muslim Filipinos who live in the southern islands and still preserve their traditional culture. Basically, the instruments are an assortment of gongs made of brass. The gongs usually have turned-in rims and a protruding center knob which is struck with a bare stick or a stick with a rubber covered end. The major instrument is the kulintang, which is a set of eight graduated gongs, horizontally mounted on a wooden frame. This is a gong-melody instrument, somewhat like a gong xylophone. The gandingan consists of two pairs of large gongs with narrow rims, suspended vertically from a rack. Other gongs are called agong and babandil. The basic drum is the dabekan, which is played in an upright position and which has an animal hide covering held by rattan strips.

By far the most famous of the purely Filipino dances is the Tinikling, named after the long-legged "tikling" bird of the rice paddies. One or more couples dance, with superb skill and timing, between two rapidly clapped bamboo poles - a fascinating dance to watch (or try, if one has the courage). The world-famous Bayanihan troupe of Manila, which toured the U.S.A. so successfully in late 1959, invariably programs the exciting Tinikling dance as a colorful finale.

The musical conductor of the Bayanihan company, moreover, is the same excellent musician from Manila who conducts the rondalla unit presented in this album. Nitoy Gonzales is, indeed, the most popular musician in all the Philippines, with as many as eight records frequently in the Islands' "Top Ten Favorites." (from the liner notes)

A little over a year ago, I posted an instructional album that gave instructions on how to perform the Tinikling dance if you're interested in learning more about Tinikling. This album is all-instrumental despite references to singing and lyrics in the liner notes about the individual songs.

Tracklisting:

Side One

1. Polka Tayabas {2:42}

2. Ti Liday {2:55}

3. Biniganbigat {3:28}

4. Pantomina Part I {2:30}

5. Pantomina Part II {2:13}

Side Two

1. Basulto {1:48}

2. Kandingan {3:07}

3. Sua Sua {2:44}

4. Los Bailes de Ayer Part I {2:58}

5. Los Bailes de Ayer Part II {3:44}

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18th Century Traditional Music of Japan

Keiko Matsuo and Her Ensemble - 18th Century Traditional Music of Japan

released on LP

The secular music as it exists today originated in the 16th to 18th century. It is fresh and lively, strongly rhythmical, and is played chiefly on the samisen and koto. It includes operatic music, instrumental chamber music, and vocal music. Within the field of operatic music (Katarimono) the Japanese distinguish between a great number of types according to subject-matter, social standards, etc. For instance, Ithyu-busi is an aristocratic type which, in a way, may be compared (socially) to the French opera of Lully; whereas Gidayu is "music for the merchant," i.e., a popular opera or operetta, rather noisy and full of cheap effects. The chamber music (frequently instrumental) and vocal combined) is the most interesting field of Japanese music. A favored form, which dates back to the 18th century, is the Jiuta. It consists of an opening Song (s), an instrumental piece (I), and a final song (S). Sometimes the scheme is broadened to a rondo-like arrangement: S I S I S. Another form of special interest is the Danmono. These are melodic variations on a theme of 7 or 8 measures, for the koto alone. Another type of 18th-century chamber music is the Sankyoku, performed on the samisen, koto, and shakuhachi. Kumi are pieces for voice and koto.

Japanese music, like Chinese, is practically always in duple time. However. the phrases are frequently of irregular length (five or seven measures), in contrast to the more strictly "regular" scheme of Chinese music. The rhythms provided by the drums are in those peculiar arrangements also found in Hindu, Javanese, Arabic music which, for the European ear, obscure the fundamental time and beat.
...
The most important instrument of Japanese art-music is the koto, the Japanese variety of the Chinese ch'in. Other instruments directly taken over from China are the sho (Chinese sheng), the biwa (Chinese pip'a). More strictly indigenous instruments are the samisen, a guitar used by street singers and geishas; the hichiriki, an oboe (not a flute) with a characteristic metal disk encircling the mouthpiece; the kokyu, similar in shape to the samisen, but bowed; and the shakuhachi, a long flute of ancient origin which calls for an especially difficult technique of blowing. (from the liner notes)

This LP is an all-instrumental chamber music (or Sankyoku) album consisting mainly of great koto playing. I found this one sitting in the bins of a locally operated thrift store.
This post is dedicated to the people in Japan. My thoughts are with them.

Tracklisting:

Side 1

1. Rokudan No Shirabe {3:53}

2. Chidori No Kyoku {3:53}

3. Midare {3:30}

4. Aki No Kotonoha {2:22}

5. Yugao {3:27}

6. Shochikubai {2:48}

Side 2

1. Haru No Kyoku {3:02}

2. Miyama Jishi {3:08}

3. Yae Goromo {2:46}

4. Akikaze No Kyoku {2:12}

5. Iso-Chidori {2:22}

6. Godan Ginuta {2:25}

7. Yachiyo Jishi {3:15}

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Music in the World of Islam: The Human Voice/Lutes

various artists compilation - Music in the World of Islam: The Human Voice/Lutes

In 1976 Tangent Records released Music in the World of Islam as a series of long-playing analogue records. With the advent of the compact disc and its attendant extended playing time we are able to present two LPs on one compact disc. The first two records in the series - The Human Voice/Lutes are presented here.
...
This anthology "music in the world of Islam" is an attempt to present highlights of music found within a huge area in Africa, parts of Europe, and Asia which are today, or have been in the past, Islamic.
As it is obviously impossible to cover adequately the music of any of these countries, far less all of them, the aim has been to divide the music into groupings so that the listener can hear, compare and learn to appreciate some of the almost limitless variety of musical styles - both vocal and instrumental - which have developed in this vast area. The diversity of cultures in the Islamic world is so great that it is strange to find unifying factors in the music. But Bedouins and nomads, farmers on the banks of the Nile, or in the Hindukush Mountains of Afghanistan or the High Atlas of Morocco or the fertile valleys of Pakistan and India. Turkish fishermen on the Black Sea coast and Malay and Javanese along the East China Sea or pearl divers on the gulf which divides Arabia from Iran, as well as the inhabitants of the great and ancient cities of Damascus and Baghdad and Cairo and Fez and Istanbul, Shiraz and Samarkand, all share certain musical traits and some of these, along with specialised music of each area, can be heard on this compact disc. (from the liner notes on the back cover)

The Human Voice LP - tracks 1-14
Lutes LP - tracks 15-23

Tracklisting:

1. [uncredited artist] - Recitation of verses of the Qu'ran {2:26}
(Al-Ateuf, near Ghardela, Algeria)

2. Ismail Ali Hasan and Abdel Hamid Abdel Aziz - Dhikr (remembrance) {2:18}
(A Sufi ceremony; Fayoum Oasis, Egypt)

3. Habibola Halika - Houri {1:21}
(secular vocal music; Sanandaj, Kurdistan, Iran)

4. [uncredited artist] - Bedouin wedding songs {1:18}
(south of Wadi Musa, Jordan)

5. Jabr bin Husein - Ghazal, or Love Song {1:17}
(Tarif, Abu Dahbi)

6. Amir Mohammed and Baba Hakim - Gurdum Gurdum {3:16}
(love song; Daulatabad, north of Baikh, Afghanistan)

7. [uncredited artist] - Song at the feast after Ramadan {1:50}
(near Nafga, Entrea, Ethiopia)

8. Salim Alan - Haddadi {4:16}
(led by Salim Alan and a group of about twenty pearl divers; Muharraq, Bahrain)

9. Wasimxzama Khan Naseri and Nazir Ahmad - Kavali {4:37}
(a devotional song; Hyderabad, Deccan, India)

10. Dunya Yunis - Abu Zeluf {3:03}
(Beirut, Lebanon)

11. [uncredited artist] - Leader/Chorus song {2:23}
(a group of Gadabursi Somali; Jijiga, Harar Province, Ethiopia)

12. Mehein fin Baqid and Dahar fin Baqid - Radha/Hateim Atiya Khalil Sayed - Ga's {2:20}
(Sharjah, United Arab Emirates/Fayoum, Egypt)

13. Aqi Pishak - Love song {2:22}
(Aqcha, Afghanistan)

14. [uncredited artist] - Tahlil {6:18}
(sung by a Sufi group; Baghdad, Iraq)

15. Salman Shukur - Taqsim in maqam Iraq {3:30}
(Baghdad, Iraq)

16. Sultan Hamid - Taqsim in maqam Hejaz {6:04}
(Muharraq, Bahrain)

17. Aboubekr Zerga - Hausi in makam Iraq {5:02}
(Tlemcen, Algeria)

18. Hussein Ali Zodeh - Tar solo in dastgah Mahur {4:55}
(Teheran, Iran)

19. Baba Hakim - Tambur solo {4:44}
(Daulatabad, Afghanistan)

20. [uncredited artist] - Gunbri (Folk Song) {2:52}
(Foum el Ancur, Morocco)

21. Erol Sayin - Taksim in makam Nishaburek {3:29}
(Ankara, Turkey)

22. Jalal zur Fonun - Solo in dastgah af-Shari {4:19}
(Teheran, Iran)

23. Khan Mohammad, Aqi Pishak and Mohammad Omar - Wedding song (in Uzbek) {2:51}
(Aqcha, Afghanistan)

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Istanbul 1925

various artists compilation - Istanbul 1925

CD released in 1994; music remastered from metal master 78 rpm discs recorded in 1925

Istanbul 1925 presents a collection of legendary performers from one of the most exciting periods in Middle Eastern music. Belly dancing, folk music and classical styles were merged together, creating a sound that became the rage of Istanbul - a city situated literally at the crossroads of Europe and Asia. The greatest cabaret singers, musicians, dancers and classical artists from various ethnic backgrounds - Turks, Armenians, Jews, Greeks and Gypsies lived in Istanbul, creating a musical style that dominated the city for more than half a century.
Hundreds of recordings were made by His Master's Voice in Turkey and issued on 78 rpm records. Presented here are performances of Turkey's greatest artists recorded during that era, digitally remastered from the original metal parts. (from the back cover liner notes)

Ernest Hemingway once said that the way to get rid of something was to write about it. In some way, it was with that thought in mind that this project was born. For this music, which was exposed to me from early childhood, had had an almost hypnotic effect on me, leading me twice to Istanbul and through countless hours of searching through records, photos and books for any scrap of information about the artists whose music had profoundly influenced my life. Istanbul 1890-1950 was a period which produced a genre of music as powerful and emotionally impacted as any age in musical history. It was, in many ways, similar to the musical scene in New York where audiences crowded into Carnegie Hall to hear new symphonies by Mahler, Dvorak and Tchaikovsky while uptown Harlem clubs were making musical history with the invention of jazz. Istanbul too harbored a rich cultural environment where music became the crossroads for Turkey's multi-ethnic population to come together. Turks, Greeks, Armenians, Jews, and Turkish gypsies merged their cultures to create a style of music which thrived in and around Istanbul for over half a century.

With the decline of the Ottoman Empire, many of the classical musicians sought employment in the night clubs of Istanbul. Here, the merging of refined Ottoman court music and urban secular music created a lighter style of the classical music known as fasil which was both sophisticated yet accessible to the young, westward-looking generation. Beginning with the reform movement of 1839, tanzimat, and later, as Kemal Ataturk began to introduce western ideology into the new republic, musical influences from other Middle Eastern countries and Europe also began to appear, though a definite Turkish flavor was retained. The emphasis on soloists gave rise to numerable singers and instrumentalists who attained pop star status. The introduction of larger ensembles, orchestrated arrangements and what today has become a main stream in Turkish music, Arabesque, was born in this era. Mohammed Abdel Wahab's westernization of Arabic music so intrigued Turkish musicians, that many, including Kemani Haydar Tatliyay, Kanuni Ahmet Yatman, Kemani Bulbuli Salih, Udi Hasan Dramali and Kemani Nubar Tekyay-Comlekciyan traveled to Egypt for extended visits.

Fortunately, many of the artists who pioneered the post-Ottoman musical era were recorded on wax cylinders and 78rpm records. Recording companies such as Regent and the Blumenthol Talking Machine Company recorded many of the leading artists. A Turkish division of His Master's Voice (Sahabinin Sesi) was already established in Istanbul by 1925. Kanuni Artaki Candan-Terzian (1885-1948), a noted Armenian musician and composer, served as the director of Sahabinin Sesi recording studios in Istanbul until his death in 1948. Under his supervision, hundreds of albums were recorded featuring the legendary artists of the day. Almost immediately, they appeared on 78 rpm discs in Europe and the United States through licensing agreements with RCA Victor, EMI, HMV and Columbia. (Harold G. Hagopian)

Tracklisting:

1. Sukru Tunar - Huzzam taksim {3:19}

2. Mahmut Celalettin - Neva Hicaz Gazel {3:21}

3. Munir Nurettin Selcuk and Sadettin Kaynak - Cikar yuclerden {3:02}

4. Udi Hrant - Cifte Telli {3:11}

5. Deniz Kizi and Kanuni Artaki - Daktilo {2:30}

6. Kemani Haydar Tatliyay - Raks Bedia {3:23}

7. Udi Hrant - Hicaz taksim {3:25}

8. Suzan Yakar - Sevda Zinciri {3:09}

9. Mahmut Celalettin and Udi Marko - Yuzu Pembe {3:14}

10. Sukru Tunar - Suzinak taksim {3:18}

11. Sukru Tunar - Karslama {3:08}

12. Mahmut Celalettin - Neva Ussak Gazel {3:10}

13. Udi Hrant - Huzzam taksim {3:22}

14. Munir Nurettin Selcuk and Sadettin Kaynak - Leyla {3:17}

15. Kucuk Nezihe Hanim and Sukru Tunar - Agladim aci Cektim {3:19}

16. Kemani Nubar - Bahriye Cifte Telli {3:42}

17. Udi Hrant - Kurdili Hicazkar taksim {3:19}

18. Kemani Haydar Tatliyay - Arap Oyun Havasi {3:20}

19. Mahmut Celalettin - Rast Neva Gazel {3:14}

20. Perihan Altindag and Rakim Elkutlu - Ne Bahar Kaldi Ne gul {2:49}

21. Hanende Agyazar Efendi - Kessik Kerem {3:06}

22. Sukru Tunar - Cifte Telli {2:45}

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From Rice Paddies and Temple Yards: Traditional Music of Vietnam

Phong Thuyet Nguyen - From Rice Paddies and Temple Yards: Traditional Music of Vietnam

cassette released in 1990

This cassette accompanied the book of the same title as the cassette.

Phong Thuyet Nguyen, Ph.D. was raised in Can Tho province in the Mekong delta of South Vietnam, in a village called Tam Ngai. He was born into a musical family that played art music, music for festivals, rituals, ceremonies, Buddhist chant, chamber music and theatrical music.
...
Over the years he concentrated particularly on the dan tranh zither, dan nguyet lute, and dan bau monochord. When he was ten he moved to a town called Tra On, and several years later resettled in Saigon, where he studied Western music, earned a degree in literature and philosophy from the University of Saigon and taught high school literature and private music students. He was appointed principal of the high school and from 1970-74 introduced and taught classes in Vietnamese traditional music, not previously taught in schools, and only recently offered for credit. He left Saigon in 1974.

Dr. Nguyen earned his Ph.D. in Ethnomusicology at the Sorbonne University in Paris, France, and served the National Center for Scientific Research through the mid-1980s. His research centered around various aspects of Vietnamese music, including traditional song, modal systems, and the mixture of Western and Vietnamese elements in the music of contemporary Vietnam and Vietnamese-American communities. He is now considered to be one of the two recognized exponents of Vietnamese music on the international scene. A well-known and widely respected teacher and scholar, he has trained a number of students (some of who have gone on to teach traditional Vietnamese music in Vietnam), performed on numerous recordings on the Lyrichord and other labels, directed and participated in international concerts in Asia, Europe and America, and has further contributed to the field of Ethnomusicology through his books and articles. He has been the recipient of a number of grants by the United States and French governments to aid in the collection and preservation of Vietnamese musics. (from biographical information in the book that included this cassette)

Tracklisting:

Side A

1. Hat Dum {0:30}
performed by an uncredited chorus

2. Cum Num Cum Niu {0:25}
performed by an uncredited chorus

3. Xay Khan {0:22}
performed by an uncredited chorus

4. Co La {4:48}
performed by Phong Nguyen - zither and monochord
and an uncredited chorus

5. Ly Chim Quyen {1:38}
performed by Phong Nguyen - zither
Thu Van and an uncredited chorus

6. Qua Cau Gio Bay {1:44}
performed by Phong Nguyen - zither
Tinh Trang and an uncredited chorus

7. Do Doc Do Ngang {2:28}
performed by Phong Nguyen - zither
Thu Van and an uncredited chorus

8. Ly Tinh Tang {2:13}
performed by Phong Nguyen - zither and monochord
Tinh Trang and an uncredited chorus

Side B

1. Kim Tien {1:53}
performed by Phong Nguyen - zither

2. Ly Ngua O {1:08}
performed by Phong Nguyen - zither and lute

3. Voice of the Trong {1:48}
performed by Phong Nguyen and Thu Van - drum and wooden bell

4. Chinh Phu Ngam Khuc {8:52}
performed by Phong Nguyen - zither; Dan bau - monochord; Dan Nguyet - moon shaped lute; Dan Tranh - 16 or 17-stringed zither; Mo - wooden bell; Trong - drum; Phong Nguyen, Thu Van, Tinh Trang, Phuong Chi - solo vocalists; Huong Lan, Kim Van, Kim Thanh, Mong Tuyet, Thu Van, Tinh Trang - chorus

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Music of East Asia: Chinese, Korean, Japanese

Sounds of the World - Music of East Asia: Chinese, Korean, Japanese

set of 3 cassettes released in 1986

About Sounds of the World

Publications in the Sounds of the World series consist of two elements: high-quality stereo cassettes containing narration, interviews, and music examples; and an accompanying illustrated teacher's guide with background information and suggestions for using these materials with students from elementary to college levels.
Ethnomusicologist Karl Signell has provided MENC [Music Educators National Conference] with episodes from his "Music in a New World" series, originally produced for National Public Radio. For this series Signell traveled across America to record the music, songs, and stories of recent immigrants to this country, immigrants keeping alive their musical traditions in their new home.

General Characteristics of the Music

Melody

* Both five- and seven-tone scales are common in a variety of forms, but pentatonic scales predominate.
* Subtle slides and shakes are common in the melodies of East Asia. Korean music is characterized by more pronounced "wavering tones."

Rhythm

* Both free rhythm and strict rhythm are present.
* The meter of Chinese and Japanese music is predominantly duple or quadruple. Korean music often cast in triple meter.
* Syncopation is rather common in East Asian musics.

Texture

* East Asian musicians use a variety of textures. They place an emphasis, however, on clearly defined musical lines.
* Monophonic texture is common, particularly in solo compositions.
* Heterophonic texture (simultaneous variations on a musical line) is quite common when singers or instrumentalists perform together.
* Some harmony is indigenous (for example, that of Chinese sheng music). Western homophonic texture is common in contemporary music.

Timbre

* The timbre of East Asian music varies considerably. Tense, nasalized timbres characterize some vocal genres.
* A variety of aerophones, chordophones, idiophones, and membranophones are used in the area. Chordophones and aerophones predominate.

Dynamics

* Some musical genres (particularly those involving small ensembles) feature soft dynamic levels (for example, Chinese zheng and xiao music). Even larger ensembles, such as the Japanese gagaku orchestra, have predominantly soft dynamic levels. Other genres, such as Peking opera, often have loud dynamic levels.

Form

* Variation form is quite common.
* Suites (compositions comprising a number of related segments) are also frequent.
* Reverting form (for example, ABA) occurs, particularly in contemporary musical selections.
* Some East Asian music uses indigenous formal structures (for example, the tripartite design in Japanese music known as Jo-Ha-Kyu.)
* Programmatic music is very common.

Tracklisting:

cassette 1

1. Chinese {28:10}

cassette 2 missing (Korean)

cassette 3

1. Japanese {28:12}

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Music of Southeast Asia: Lao, Hmong, Vietnamese

Sounds of the World - Music of Southeast Asia: Lao, Hmong, Vietnamese

set of 3 cassettes released in 1986

About Sounds of the World

Publications in the Sounds of the World series consist of two elements: high-quality stereo cassettes containing narration, interviews, and music examples, and an accompanying illustrated teacher's guide with background information and suggestions for using these materials with students from elementary to college levels.
Ethnomusicologist Karl Signell has provided MENC [Music Educators National Conference] with episodes from his "Music in a New World" series, originally produced for National Public Radio. For this series Signell traveled across America to record the music, songs, and stories of recent immigrants to this country, immigrants keeping alive their musical traditions in their new home.

THE INDOCHINESE REFUGEE

The Old World

Directly south of China and to the east of India is the region of Southeast Asia, comprising mainland countries and island nations. "Mainland" Southeast Asia refers to Vietnam, Laos, Cambodia, Thailand, Burma, and Malaysia. Of diverse origins, the variety of peoples, lifestyles, and cultural traditions is striking within the region. Influences from China, India, and the Middle East shaped their philosophical beliefs, which are uniquely and originally expressed through their music and arts.
Vietnam, Laos, and Cambodia are countries once referred to as Indochina. Despite their physical separation from neighboring China and India by mountains and often-flooded river valleys, a significant exchange of cultural practices was evident for many centuries. Many Indian artists and scholars enjoyed enjoyed a high status in the courts of Southeast Asia while they introduced aspects of Hindu and Buddhist traditions. Indochinese youths were often sent to India for training in literary, artistic, and cultural practices. Trade routes between the two regions remained firmly established until at least the tenth century.
A diversity of ethnic groups entered Southeast Asia from South China, moving down the Mekong River valley. The Mon, Lao, Shan, Siamese, and Khmer settled in Laos, Cambodia, and Thailand, while the Hmong migrated from China less than two hundred years ago. The Vietnamese became thoroughly Sinicized in the first century B.C. when China annexed the region. After an attempt to pursue an India-style civilization, around 1400 they reverted to traditional Confucianist ethics, an elite mandarin system of government, and a Chinese style of Buddhism.
The Western impact on the area was felt as early as the sixteenth century with the advent of missionaries, culminating in the colonization of the Indochinese peninsula by the French three centuries later. Despite the continued French rule until World War II, Vietnam, Laos, and Cambodia each maintained their unique cultural identities that had been developing for at least a millenium.
"Indochinese" is a generic term referring to the many Southeast Asian peoples who came under French colonial rule in the late nineteenth century. There is a diversity of ethnic and linguistic peoples in Vietnam, Laos, and Cambodia. While there is a homogenous majority in each country - for example, 85 percent of those in Vietnam are Vietnamese - minority groups include Chinese in Cambodia, Hmong in Laos, and Chinese and Montagnards in Vietnam.

The New World

The disintegration of the South Vietnamese government in 1975 and similar political upheavals in Cambodia and Laos led to an unprecedented influx of refugees to the United States. They came as their governments were collapsing around them, journeying from camps in Thailand, Hong Kong, and Guam to reception centers in California, Arkansas, Florida, and Pennsylvania. Educational programs were established to facilitate the assimilation of the refugees into American life, and language, vocational, and recreational programs were initiated for adults and children. The transition was difficult as basic American values of independence clashed with the traditions of extended families and submission to one's elders. Sponsorship from church-affiliated agencies and state welfare funds provided food, clothing, and shelter for refugee families until they became self-supporting outside the centers.
There are over half a million people from Indochina now settled in the United States, living mainly in such cities as Los Angeles, San Francisco, Seattle, and Dallas; many continue to move from rural areas to increasingly viable and cohesive communities in the urban centers. Life in the New World holds promise for the refugees, although coping with language and cultural differences, isolation, and the separation of families has been difficult. For some, unemployment - or underemployment - and radical changes in social status have resulted in depression and loss of self-esteem. The position of the Indochinese in American society is still emerging, and the children of the refugees may know more success and security in the years to come. (from the liner notes)

Tracklisting:

cassette 1

1. Lao {28:16}

cassette 2

1. Hmong {28:03}

cassette 3

1. Vietnamese {28:21}

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Melawat Malaysia

Georgia Hesse and Russell Johnson - Melawat Malaysia

cassette released in 1985

This cassette is narrated by notable travel writer Georgia Hesse and producer and radio and TV host Russell Johnson. Melawat (Malay word for "visit") Malaysia is the second in a series of electronic travel guides produced by Travelmedia. All of the sounds and music were recorded in Malaysia. I am still trying to find out how many of these electronic travel guides were produced and released.

This tape gives a glimpse of the cultural background of Malaysia including the music, cuisine, traditions, marriage ceremonies, harvest celebrations along with the demographics (at time of recording), the fauna that inhabit the country and travel tips.

Tracklisting:

Side 1

1. Beasts, Brits and Bumiputras: From Jungle Cries to Semiconductors {17:24}

Side 2

1. Temples, Traditions and Travel Tips: From Cat Kites to Cuisines {17:17}

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Raag Yaman/Raag Shri

Pannalal Ghosh - Raag Yaman/Raag Shri

released on LP sometime in the early 1960s

The magic flute of this celebrated artiste was silenced forever as a result of his untimely death in New Delhi recently. And Indian classical music suffered an irreparable loss as Pannalal Ghosh was one if its finest exponents.

Born on the 31st July 1911 in the Barisal District of the former East Bengal, now East Pakistan, he evinced keen interest in music even as a child. Curiously enough it was the humble bamboo flute, which not so long ago was considered worthy only of folk music in India, that took his fancy. In his youth he developed a passion for this simple instrument and his most significant achievement in the realm of music lies in the fact that he more than any one else raised the flute to the status of a full-fledged concert instrument.

There is hardly anything in classical music that Pannalal Ghosh was not able to interpret on the flute and his performances were highlighted by the superb technique of Pure Exposition of the Ragas coupled with the soft, mellow, and soothing tone of his instrument which he specially designed. It is an outsize flute about 32" long and the seven holes on it are so wide apart that no ordinary flute player can play on it with ease and proficiency that this gifted Flutist exhibited in his playing whilst weaving intricate patterns in the course of elaboration of a Raga.

At the time of his demise Pannalal Ghosh was conductor of the National Orchestra of All India Radio at New Delhi in which capacity he distinguished himself with his highly imaginative and delightful compositions based on classical Ragas. Before that for a number of years he was composing music for the films in Bombay, some of which were big musical hits of their time. The changing trends in film music did not however suit his temperament and genius, which were more to the classical side, and he started concentrating more and more on his instrument appearing in concerts and music festivals all over the country before he got his last assignment with All India Radio.

RAAG "YAMAN"

This is a most popular Raga having all the 7 notes both in Ascent (Arohana) and Descent (Avarohana). The usual practice is to expound this Raga in the evening or early part of the night. It creates a very quiet and subdued atmosphere and is very serene in character. The slow moving flow of the exposition unfolding the ever surpassing beauty of the melody in the process of elaboration speaks volumes for the imagination and skill of the artiste. The first part is confined to a Tal (Rhythm) known as "Zoomra". This consists of 14 equal beats divided into two equal parts of 7 each. This is followed by a melody in the same Raga but in a faster tempo and is confined to the Tal (Teental) consisting of 16 equal beats divided into four groups.

RAAG "SHRI"

This Raga too is an evening melody. Its mood and character are serious and dignified and it is very difficult to expound. As the notes permissible in this Raga are also permissible in some other Ragas, the skill of the artiste lies in weaving such note-combinations alone as would distinguish it from other similar Ragas. The artiste after a short "Alap" or introduction in the beginning plays a melody in Tal Talwada consisting of 16 equal beats (Matras) and gradually develops the mood of the Raga by the combination of the notes peculiar to it. Later he switches over to faster melody in Teen Tal which consists of 16 equal beats divided into four equal groups. (from the liner notes)



Tracklisting:

First Side

1. Raag Yaman {18:32}

Second Side

1. Raag Shri {18:33}

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Spring Night on a Moonlit River

Chen Lei-Shi - Spring Night on a Moonlit River

cassette released in 1984

recorded on March 7, 1982

all music performed on Chinese zither or Gu Zheng by Chen Lei-Shi (or Louis Chen)

The instrument's over 2000 year history is steeped in legend. The most famous explanation of the instrument's origin is the story of the two concubines of the Chinese Emperor Qin Shi Huang. The two women fought over a "Se," a large zither of up to 25 strings. The instrument was split into two "zheng," one of twelve strings and one of thirteen strings during the struggle and the two halves came to be known as the Qin Zheng or zither of the state of Qin, one of the kingdoms which existed during the Warring States Period (475-221 B.C.), a historical era of great turmoil but also of great creativity.
While the splitting of the "Se" belongs to the realm of legend, it does serve to establish the instrument's place and time of origin. Indeed for centuries, the Gu Zheng was often referred to as the Qin Zheng rather than Gu Zheng.
...
The different styles of playing were presented in various forms of notation, traditionally based on the use of Chinese characters to represent different notes. The diversity of styles and notation, some dating to before the Tang Dynasty, and the fact that there was no "official" unified form of writing down the music, suggest that the Gu Zheng was a widespread and popular folk instrument with a long and rich history. In addition to stylistic diversity, there have been developments in the instrument's construction and performing technique over the centuries. The six predominant styles of traditional Zheng music today are those of Henan, Chao Zhou, Shandong, Kejia (Hakka), ZheJiang, and Hangzhou.
...
The basic tuning of the Gu Zheng is pentatonic and is the same for both Northern and Southern styles, however variations on tuning are often employed. Each string has its own individual bridge or "Mazi," placed at staggered positions along the sound board. By pressing the string to the left of the "mazi," the player can manipulate tension so as to produce a virtually infinite number of microtones, thus the essentially pentatonic tuning belies the versatility of sounds which can be produced on the Gu Zheng. Chords and flourishes are plucked with the right hand in a manner not dissimilar to the classical guitar. The so-called "Modern style" which has been developed during this century puts more emphasis on two handed plucking and strumming to the right-hand side of the "mazi." What is significant about the selections on this recording is that they are traditional pieces played in the traditional style.
Here one should note that along with other more traditional forms of culture, traditional Chinese music was discouraged during the 10 years of the Cultural Revolution from 1966-76. During that time, traditional Chinese musicians not within the political sphere of Beijing, notably in Taiwan and Hong Kong, maintained and developed the art of the Gu Zheng. Nevertheless, the 60's and 70's were also times of rapid economic growth in both Taiwan and Hong Kong and, as is typical during such periods of rapid absorption of Western technology and economic systems, the traditional culture, music in particular, gave way to Western tastes newly acquired by the younger generation. Furthermore, the relative relaxation of attitudes towards traditional culture which has been apparent in the People's Republic since the ouster of the radical "Gang of Four" in 1976, has taken place concurrently with a period of rapid economic modernization and exposure to non-Chinese culture. Therefore, the music recorded on this album represents an art which is being maintained by literally a handful of old masters, like Professor Louis Chen. The scholarship and faithfulness to tradition which is inherent in the selections on this album, has a rich historical past, but its future is uncertain. (from the liner notes)

Tracklisting:

Side One

1. Hungry Horse/Jingling Bells {4:31}
Cantonese melody 1920s; composed by He Liutang

2. Spring Night on a Moonlit River {10:03}
traditional folk melody of South China

3. Lady Liu Qing {5:32}
traditional melody of Chao Zhou

4. Crow Playing on the Winter River {7:32}
traditional Chao Zhou melody

Side Two

1. Running Water {6:16}
traditional Qin melody

2. Entering the Palace from the North {3:45}

3. Thinking of an Old Friend {5:51}
traditional Qin melody

4. High Mountains and Running Water {3:30}
traditional melody of Central China

5. Autumn Moon in the Han Palace {5:01}

6. Deep Midnight {1:25}
traditional folk tune

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Ragas of Meditation and Happiness

Vasant Rai and Alla Rakha - ...Play Ragas of Meditation and Happiness

LP released in 1975

Vasant Rai - sarod
Alla Rakha - tablas
Kokila Rai - tamboura

Produced by Jim Richmond, Gerry Halpern, and Vasant Rai

Raga is derived from the Sanskrit word ranga, meaning color or tinge, and is the basic element of classical Indian composition. It consists of a number of tones or notes called swaras, and has a specific form, structure, and sequence. The swaras are indicated by the syllables sa, re, ga, ma, pa, dha, ni, sa. All ragas have a minimum of five notes. They are classified by the number of notes in their ascending scale (aroha) and descending scale (avaroha). The character of each raga is also determined by the sequence of notes and the emphasis placed on certain dominant roles. The dominant note in a raga is called vadi swara; the second most important note is the samvadi swara.
Every raga has its poetic and visual image, including color, form, and emotional mood. In fact, many ragas and raginis have been favorite subjects of Moghul and Rajput miniature painters. Specific ragas are performed at different times, day or night, and for a particular season or occasion.
A unique quality of classical Indian music is the improvisation of the raga within a basic structure. Using this structure, the musician develops the raga and expresses his own interpretation of the melody. He tries to capture the mood of the raga, i.e. joy, pathos, love, loneliness, tranquility, etc. The skill, imagination and virtuosity of the individual artist is revealed in the way he develops the nuances, grace notes, and embellishments of the raga. It is the elusive quality of these grace notes and microtones which makes it difficult to notate Indian music. Since ancient times, music has been handed down from master to pupil and father to son; it remains even today an oral tradition.
...
Bhairav is one of the six major ragas. This raga should be performed during the early morning between dawn and sunrise. It has a serene, meditative feeling. It pictures Lord Siva (one of the three aspects of God), covered with ashes, adorned with a serpent, a crescent, and a necklace of skulls.
...
Kafi, a light joyous raga of the spring season, is played during the late afternoon, evening, and night. In this raga, Lord Krishna and the gopis (milkmaids), in a playful mood, celebrate the Holi Festival (Spring Festival).
...
Misra Pahadi is a light and joyful folk tune from the mountain area of Himachal Pradesh. It is classified as dhun, meaning a light melody in which the artist improvises on different ragas and folk tunes. A dhun is not bound by the strict rules of the classical raga. (Y. G. Srimati)

Tracklisting:

Side One

1. Raga Bhairav {19:25}

Side Two

1. Raga Kafi {10:46}

2. Raga Misra Pahadi {9:31}

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Turquie-Turkey

[uncredited artist] - Turquie-Turkey

This is the last post of the year 2009. Happy 2010!

In Turkey, which lies between East and West, the Arab tradition has not only been maintained, but it has also been transformed, enriched, and influenced. This compact disc takes the listener on a journey to the heart of Turkish folk music, ith such instruments as the deblek (single-headed goblet drum), the davul (large double-headed cylindrical drum), the zurna (folk oboe), the ud (Arab lute), the kanun (plucked box zither) and the violin. (from the back cover)

Tracklisting:

1. Chant d'Istanbul {10:55}
violin, clarinet, deblek, ud, tambourine

2. Variations sur un kanun {10:35}
kanun, violin, darbouka

3. Danses villageoises {5:53}
zurna, davul

4. Selection de chants turcs {27:06}
violin, clarinet, deblek, ud, tambourine

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Tinikling

Carmencita Y. Kazan - Tinikling

LP released in 1972; includes instructions and diagrams

From the liner notes:

The Tinikling Dance is one of the most dramatic dances in the Philippines. The dance is named after the long-legged "Tikling" birds as they hop between tall reeds and tree branches.

Dancers perform along the sides and between two bamboo poles which are struck together in time to the music. Hopping in between the bamboo poles without getting caught demonstrates skill but it is still a lot of fun even if you get caught.

Equipment:
Two bamboo poles approximately 9 feet long
Two heavy boards at least 2 inches thick and 2 feet long

Costume:
GIRL DANCER - a plaid colorful wrap-around skirt, a loose overblouse with butterfly sleeves BOY DANCER - bright colored pants with one leg rolled up to mid-calf, with long-sleeved shirt worn outside the pants; a colorful scarf around the neck
Dancers perform barefooted.More information about the Tinikling here.



Tracklisting:

Side A

1. Introduction to Tinikling {2:14}

2. Clapping to the Rhythm {0:24}

3. Bamboo Beating Instructions {1:26}

4. Bamboo Beating to the Music {0:17}

5. Bamboo Beating Instructions {0:34}

6. Figure 1-The Tinikling Step {3:07}

7. The Tinikling Step-with Music {0:28}

8. The Tinikling Step-with Music {0:35}

9. Figure 2-The Cross Step {1:42}

10. Figure 2-The Cross Step-with Music {0:28}

11. Figures 1 and 2-with Music {0:51}

Side B

1. Figure 3-Tinikling Step Diagonal Forward {1:42}

2. Figure 3-with Music {0:33}

3. Figures 1, 2, 3-with Music {1:11}

4. Figure 4-Straddle Jump with Turns {2:44}

5. Figure 4-with Music {0:28}

6. Figures 1, 2, 3, 4-with Music {1:31}

7. Figure 5-Forward and Sideward {2:31}

8. Figure 5-with Music {0:31}

9. Complete Instrumental Music {3:06}

10. Complete Instrumental Music-Repeated {2:51}

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