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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Men in Harmonites

Harmonites International Steel Orchestra - Men in Harmonites

LP released in 1981

There are many steelbands but few like Harmonites Steel International.
Harmonites Steel International has catapulted to the summit of Antigua's music. Although the Band has acquired such heights, it is ever-changing; ever-seeking new ways to develop its craft. Versatility is the key to the Orchestra's continued success; today's functions demand dedication. The ease with which the Orchestra switches from the Golden Oldies to a Reggae or a Calypso, the strains of a Viennese Waltz to the top ten speaks for itself.
The Harmonites Steel International presents its second album with a difference. We would like you to sit back and enjoy real pan music. (from the liner notes)

Harmonites International Steel Orchestra recorded a few albums including this one which is supposedly famous according to the Antigua Carnival site. This LP was produced and pressed in Jamaica according to a small sticker on the back cover. This accounts for the music being drenched in echo and a few tracks have electronic bleeps that weave in and out of the mix. The first track is the only original tune which was written by leader at the time Fitzroy (Champ) Martin. The rest are renditions of classical music, other reggae tunes and the famous piano rag "The Entertainer". This particular steel orchestra was founded in the late 1960s and it still exists to this day.



Tracklisting:

Side One

1. Men in Harmonites {4:28}

2. Air on a G String {4:33}

3. Always in My Heart {5:58}

4. Disco Dumplin {3:06}

Side Two

1. Blue Danube Waltz {6:42}

2. Stars and Stripes Forever {3:43}

3. The Entertainer {3:46}

4. Frenzy {4:56}

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Old Music Box Waltz Melodies

Bornand Music Box Collection - Old Music Box Waltz Melodies

released on LP

This record celebrates the 10th anniversary of "OLD MUSIC BOX MELODIES" with 26 familiar, always popular, old and new world waltzes. It is recorded from two large fine Swiss cylinder music boxes and four of the various size disc music boxes, among them the "King of Music Boxes" the 27" disc Regina.

It was at the turn of the century, when Mr. Edison's phonograph, "The Talking Voice" made its appearance, that music boxes surrendered their place of honor in the parlor, to that sensational invention. No industry ever suffered such a sudden demise. Rare old instruments, many representing the life's work of some Swiss, French or German craftsman, were suddenly old-fashioned, and relegated to the barn, attic or the cellar; there to remain for half a century or more if not demolished by children at play, destroyed by the elements, carted away by a junkman, or perhaps the more fortunate ones, rescued by searchers for antiques.

As time cures many ills, it began to right this injustice; one after another, music boxes came back - museums became interested - collections were started, and the services of Joseph Bornand, one of the last surviving factory trained experts in this field, were again in demand. It was a great joy for Mr. Bornand to open his music box shop again and he in turn taught his son Adrian V. all the secrets of this long lost art, a Bornand family business in Switzerland since 1825.

The Bornand music box collection containing many rare one of a kind instruments from all parts of the world, has long been recognized as one of the foremost in existence. To share this beauty and give the world this music which will probably never be produced in its original form again, the Bornands have recorded it for the modern record players. Thus the phonograph, which ended the music box business so long ago, is now the means of bringing this music into thousands of homes, which would otherwise not know of its existence or enjoy its nostalgic beauty. (from the liner notes)



Tracklisting:

Side A

1. Invitation to the Dance {0:54}

2. Artists Life Waltz {1:48}

3. Merry Widow/Treasure Waltz {2:09}

4. Faust Waltz {2:44}

5. Little Fisher Maiden/Skater's Waltz {1:42}

6. Estudiantina/Chimes of Normandy {3:15}

7. Tales of Vienna Woods {1:44}

8. Waves of the Blue Danube/Lagunes Waltz {2:51}

9. Espana Waltz {1:21}

Side B

1. Blue Danube Waltz {1:54}

2. Carnival of Venice {1:56}

3. On a Sunday Afternoon {3:21}

4. In the Good Old Summertime {1:41}

5. Edelweiss Glide {2:05}

6. When the Leaves Begin to Turn/After the Ball/Southern Roses {2:31}

7. Wine, Women & Song {2:45}

8. Mikado Waltz/Loin du Bal/Angot Waltz {2:54}

9. Romeo & Juliet Grand Waltz {1:37}

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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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African Tribal Music & Dances

various artists compilation - African Tribal Music & Dances

*special thanks to KL from NYC for this

CD released in 1993

The material on this CD are from LP releases Music of the Malinke/Music of the Baoule on Esoteric Records [CPT-529] (tracks 1-13) and Sonar Senghor and His Troupe - African Tribal Music and Dances on Olympic Records [OL-6121, released in 1976) (tracks 14-22, these tracks are only on the A side or first side of the LP).

Experience the sounds of the Malinke tribe, the Baoule and several other peoples from various countries in Africa. Male and female choruses are featured in selections such as "The Dance of the Hunters" and "Dance of the Women". Solo instrumental performances are played with the flute, musical bow, and xylophone in "Solo for Musical Bow", "Duet for Flutes" and "Xylophone Solo". Vibrant African drums and other percussion instruments are played throughout the CD.

Tracklisting:

1. Music of the Malinke - Festival Music {3:26}

2. Music of the Malinke - Solo for the Seron {2:41}

3. Music of the Malinke - Hymn of Praise {3:34}

4. Music of the Malinke - Percussion Instruments {1:34}

5. Music of the Malinke - Festival of the Circumcision {2:19}

6. Music of the Malinke - Dance of the Hunters {3:24}

7. Music of the Malinke - Dance of the Woman {3:18}

8. Music of the Baoule - Invocation, Entrance, & Dance of the Glaou {7:59}

9. Music of the Baoule - Duet for Flutes {2:16}

10. Music of the Baoule - Solo for Musical Bow {0:48}

11. Music of the Baoule - Xylophone Solo {2:30}

12. Music of the Baoule - Male Chorus & Harp {2:09}

13. Music of the Baoule - Dance of the Witch Doctor {4:26}

14. Sonar Senghor & His Rhythms - Sicco {1:40}

15. Sonar Senghor & His Rhythms - Toffi {3:03}

16. Sonar Senghor & His Rhythms - Ibonga {1:39}

17. Sonar Senghor & His Rhythms - Gnounba Gnibi {2:50}

18. Sonar Senghor & His Rhythms - Dianka Bi {3:38}

19. Sonar Senghor & His Rhythms - Sibi Saba {3:08}

20. Sonar Senghor & His Rhythms - Sindhio {3:28}

21. Sonar Senghor & His Rhythms - Didrenquo {3:52}

22. Sonar Senghor & His Rhythms - Bonomiollo {2:58}

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Roger Bobo & Tuba Play Galliard, Barat, Kraft, Hindemith, Wilder

Roger Bobo - Roger Bobo and Tuba Play Galliard, Barat, Kraft, Hindemith, Wilder

released on LP

accompanied by Ralph Grierson - piano

Sonata No. 5 in D Minor, composed by Johann Ernst Galliard (b. 1687)

This sonata, in common with the practice of the period, was composed for 'low instrument', and the tuba fits easily and effectively into that category. The music is straightforward and makes few demands on the listener, whose enjoyment is based partly on the purity of musical thought and the good tunes, and partly on the technical brilliance called for in the brisker movements. Roger Bobo uses the smaller F Tuba for this piece.

Sonata for Basstuba and Piano, composed by Paul Hindemith (b. 1895)

As a composer he rapidly became accepted as a major voice of his generation, assimilating the new ideas of composition, and finding his own field of expression. Bach became a strong influence in Hindemith's music, and his later works have a strong contrapuntal element. Perhaps one of Hindemith's most important contributions was his collection of sonatas, written for instruments which were not regarded in a solo light at that time. He thus exploited the musical and technical resources available and left an invaluable heritage of music for performers as well as listeners. The three movements of this "Sonata" give ample opportunity to the tuba, not only for showing itself off technically, as in the central section of the Variations which make up the last movement, but also to emerge as an important interpretive instrument in its own right. This is probably one of the greatest works composed for tuba up to the present time.

Introduction and Dance, composed by J. Ed. Barat

This short, typically French piece by J. Ed. Barat was originally composed for Bass Saxhorn, or Saxtuba, the lowest of the five members of the saxhorn family, patented in 1845 by Adolphe Sax (1814-1894), best known as the inventor of the saxophone. Sax was one of the greatest innovators in the manufacture and improvement of brass and wind instruments during the second half of the nineteenth century. Indeed, his work in this field, which included working on valves in a sound mechanical and acoustical manner, entitles Sax to a special niche in musical history, certainly of equal importance to the saxophone's invasion of the popular music field today. The "Introduction and Dance" is performed on the F tuba on this recording.

Encounters II (for Unaccompanied Tuba), composed by William Kraft (b.1923)

As timpanist with the Los Angeles Philharmonic, William Kraft has had ample opportunity to get to know Roger Bobo, both as a colleague and as a musician, and "Encounters II (for Unaccompanied Tuba)" was specifically composed for Bobo, with the intention of offering him opportunities of both a musical and a technical character. It is dramatic and expressive, lyrical and bombastic. At one point the player is called upon to actually sing through the tuba at the same time that he is playing, thereby setting up a two part texture wherein one part can accompany the other or the two can work together independently. The piece was composed in December, 1966 and first performed in spring of 1967 in the "Encounters" series of concerts in Pasadena, California. These concerts represent a musical "encounter" with a leading composer of our time, and since Karl Kohn had composed a work called "Encounters" for a previous concert, Kraft entitled his piece "Encounters II."

Children's Suite: Effie the Elephant, composed by Alec Wilder (b. 1907)

This little suite is entirely self-explanatory, the tuba taking the role of the lovable little Effie. There is much to enjoy musically, especially in the very lovely lullaby, and there is a lot of fun and helter-skelter rushing about in the Carnival. (Denby Richards)
Tracklisting:

Side A

1. Sonata No. 5 in D Minor {6:59}

2. Sonata for Basstuba and Piano {10:09}

Side B

1. Introduction and Dance {3:53}

2. Encounters II (for Unaccompanied Tuba) {5:57}

3. Children's Suite: Effie the Elephant: 1. Effie Takes a Dancing Lesson {1:20}

4. Children's Suite: Effie the Elephant: 2. Effie Falls in Love {3:03}

5. Children's Suite: Effie the Elephant: 3. Effie Goes Folk Dancing {1:47}

6. Children's Suite: Effie the Elephant: 4. Effie Chases a Monkey {0:48}

7. Children's Suite: Effie the Elephant: 5. Effie Sings a Lullaby {2:30}

8. Children's Suite: Effie the Elephant: 6. Effie Joins a Carnival {1:21}

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Music from SEAMUS Volume 2

various artists compilation - Music from SEAMUS Volume 2

This is the second in a series of annual releases that features the 'best of' works from the annual conferences held by the Society for Electro-Acoustic Music in the United States (SEAMUS).

Time Mark (1989) composed by Scott A. Wyatt
composition for solo percussion with tape accompaniment
Glenn Schaft - percussion

Within Time Mark, are specific considerations including a continuum of timbre - thus providing for an integration of tape and live sounds without the loss of individuality, and spatial disposition - wherein the location from which the sounds emanate within the performance space is also a parameter of the composition.

Liaisons (1991) composed by Jeffrey Hass
composition for computer-generated tape

Liaisons is constructed from a variety of oboe samples, including key clicks and multiphonics. Digital signal processing, accomplished primarily with Csound and linear predictive coding, was used to explore, dissect, modify, and reassemble these sounds to produce the primary material of the piece. By drastically slowing down some of the oboe samples, intriguing microscopic elements not heard in real-time were isolated and enhanced. The piece, then, is a collaboration between real world sounds and digital technology.

Barroco (1991) composed by Barry Schrader
for harpsichord and electronics
Alissa Rhode - harpsichord

Barroco is the second section of "Excavations", a two-movement work for harpsichord and electronics. It parodies bits and pieces of Baroque harpsichord music, although there are no actual quotations. Structurally, Barroco is in what I call "reverse entropy" form: Fragments of material derived from a one-measure theme presented in the introduction come back in different ways, finally insisting on the stasis of repetition.

Paraptra (1991) composed by Cort Lippe
composition for computer-generated tape

Paraptra, for stereo tape, was created using the program Max, which was developed by Miller Puckette, and whose technical advice made this piece possible. The digital mix was done at IRCAM, Paris, with the valuable assistance of Xavier Bordelais and Franck Rossi. The material for the tape is made up solely of digitally transformed and processed harp and classical guitar sounds. Transformations include: frequency shifting, spatial panning, harmonizing, random amplitude modulating, and time-stretching routines which were written by the composer and Puckette for the 4X real-time signal processor. The piece is characterized by a very wide dynamic range, and contains four main sections.

Amalgam I (1988) composed by Charles Norman Mason
composition for oboe and computer-generated tape
David Weber - oboe

Within Amalgam I, the sounds on the tape capture certain characteristics of the double-reed sound while the oboe expands its sonic possibilities with the use of multiphonics and microtones, thus producing a melding of the two sounds.

Wordscapes (1991) composed by George Todd
composition for computer-generated tape
Word
Water
Green Idea

Wordscapes is a set of etudes each a study of one or two words which have been sampled, analyzed, and re-synthesized using the Synclavier's SEM and re-synthesis program. This unique method of re-synthesis divides the analyzed sound into composer-determined time "frames" each of which is a harmonic spectrum. These spectra elide with the frames before and after them creating a dynamic timbral change. The spectra can be manipulated in a variety of ways. The etudes here - "Word", "Green Idea" and "Water" are based on words spoken by a female voice.

CAUTION TO THE WINDS (1991) composed by James Mobberley
composition for piano with tape accompaniment
Richard Cass - piano

It is the fifth in a series of works which combine a solo instrument with a tape accompaniment comprised only of sounds derived from the solo instrument itself. In this case the piano sounds were recorded and then sampled and manipulated on a Fairlight Series IIX to make the tape part.
CAUTION TO THE WINDS is programmatic only in the broadest sense; the title makes reference to the raw energy that is a major part of the arsenal to be found both in piano music and in electronic music, and reflects the free, quasi-rhapsodic nature of the work. (from the liner notes)

Tracklisting:

1. Scott A. Wyatt - Time Mark {8:54}

2. Jeffrey Hass - Liaisons {5:08}

3. Barry Schrader - Barroco {6:19}

4. Cort Lippe - Paraptra {14:22}

5. Charles Norman Mason - Amalgam I {8:54}

6. George Todd - Wordscapes {5:38}

7. James Mobberley - CAUTION TO THE WINDS {5:33}

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Sonata for Two Pianos and Percussion/Microcosm

Béla Bartók - Sonata for Two Pianos and Percussion/Microcosm

released on LP

The Sonata for Two Pianos and Percussion was written in 1937 in Budapest, having been commissioned by the Basle sub-section of the Swiss section of the International Society for Contemporary Music. It was given its first performance in Basle on 16th January 1938 by Béla Bartók, Ditta Bartók-Pásztory, Fritz Schiesser, and Philipp Rühlig. In 1940 Bartók arranged the piece for orchestral accompaniment ("Concerto for two pianos with orchestra"). The first performance of the orchestral version took place in New York in 1943 with Bela and Ditta Bartók and the New York Philharmonic Orchestra conducted by Fritz Reiner.
Bartók on the first version: "I had long intended to write a work for piano and percussion. Gradually I came to the conclusion that one piano would not be sufficient to balance the often rather hard sound of the percussion instruments. Finally I decided to change the plan and use two pianos in opposition to the percussion."
There are seven percussion instruments played by two players: three kettle-drums, bass drum, cymbals, tam tam, side-drum with snares, side-drum without snares, and xylophone. The two percussion parts occupy a position of equal importance to the two pianos; in many parts the percussion sound is only a nuance of colour added to the piano parts, but in many others it provides or underlines important accents. At the same time percussion also adds contrapuntal motifs to those of the pianos, and frequently the kettle-drums and xylophone actually take over themes.
The work is in three movements: Assai lento / Allegro molto - Lento, ma non troppo - Allegro non troppo; it is based on an extension of the idea of the classical sonata. The principle of constant variation - one of the sonata's specific characteristics - derives from Beethoven's composition technique in his later works. Karl H. Wörner: "Improvisation and constant variation are two of the principles of style which run through Bartók's sonata. The creative achievement of this composer, and his greatness, lie in his ability and constant endeavour to reconcile contrasts deriving from two completely separate spheres - the one from the highly specific art in the tradition of Western music, to which Bartók counted himself, and the other from an early stage in the development of music: folk music, with its element of improvisation."

Seven pieces from Microcosm
With the intention "of giving an opportunity for ensemble playing as soon as possible" Bartók added a piano part to several pieces from Microcosm, a work he wrote for pedagogical reasons, "and these pieces can be played in this form when two pianos are available".
Vol. IV No. 113 Bulgarian rhythm (1)
Vol. III No. 69 Study in chords
Vol. V No. 135 Perpetuum mobile
Vol. V No. 123 Staccato and Legato
Vol. V No. 127 New Hungarian folksong
Vol. VI No. 145 Chromatic invention
Vol. VI No. 146 Ostinato
(from the liner notes)

Tracklisting:

Side 1

1. Sonata for Two Pianos and Percussion: I. Assai Lento/Allegro molto {13:23}

2. Sonata for Two Pianos and Percussion: II. Lento, ma non troppo {6:36}

Side 2

1. Sonata for Two Pianos and Percussion: III. Allegro non troppo {6:16}

2. Microcosm {8:36}

(1)  [may be reposted soon]

Barrel Organ in Hi-Fi

Street Organ "The Arab" - Barrel Organ in Hi-Fi

released on LP

*much thanks to KL from NYC for this LP

This glorious collection of noises introduces to America the sound of one of the most celebrated sights of The Netherlands, and the music of one of the great street organs of the world, the dazzling instrument known as "The Arab". In Amsterdam, this organ, and others like it, give enormous pleasure to young and old alike, and keep the air ringing with gusty music. In America, the nearest sort of music is that associated with merry-go-rounds and carousels, brisk, lively and bright, and with no pretensions whatever to anything but the merriest kind of entertainment.
And entertainment is what it provides, no matter where it is heard. In its own home, in Amsterdam, a special atmosphere adds to its peculiar allure. The city lies like a spider in a web of waterways, where the air is permeated with the briny tang of the North sea. The people are open-hearted and humorous and romantic, and treasure their old traditions, the old patrician houses dating from the seventeenth century, the narrow streets, the many bridges, the winding canals and that supremely indigenous construction, the street organ.

The organs are pushed by energetic men up and down the bridges, over the rounded cobblestones, around the city. On certain days each week, the barrel organ is to be found at the same spot, where its hardy band of followers pause to listen to its vast repertoire of waltzes, marches and hits of the day. The program played by The Arab here is a sampling of the music heard in the streets of Amsterdam, at any season of the year, in any weather. In the Amsterdam patois, a barrel organ in general is known as a pierement, and one resident has had this to say about the beloved instruments: "If the pierements were to go on strike for a week, refusing to leave their nightly abodes, and cease filling the city with their joyous sounds, to which countless numbers of people sing, dance and in any case smile, the residents of Amsterdam would flock together and start asking each other anxiously what was wrong. The Amsterdammer would find that this city had suddenly become still and grey, as it appears sometimes when the autumn mists descend upon it or it is enveloped in a curtain of rain, a melancholy city; which explains why the pierement plays such a vital role in its daily life: a large, heavy, gaudily-decorated cabinet, which produces a great deal of noise, albeit organized noise, pleasant noise, and noise with an irresistible rhythm and blood-stirring vigor."
Well, that is what an Amsterdammer thinks about organs such as The Arab, and to a large degree Americans will feel the same. It does produce noise, plenty of it, but so delightful and invigorating that it is irresistible. Any one of the selections is a positive delight in orchestration, but those the listener finds familiar will be even greater treats. Perhaps the simplest examples are the Mexican La Paloma and the little Oscar Straus waltz La Ronde de l'amour. Never has the dove flown to such extraordinary accompaniment, such whirrings and clashings and gaiety, nor has the round of love ever been completed with such boisterous high spirits.


As can be seen from the photograph, The Arab is an instrument richly designed to complement its remarkable sound with a remarkable sight. The Arab was built in Antwerp in 1926, by the well-known organ-builder Pierre Verbeeck. In 1948, The Arab was entirely renovated by its present owner, G. Perlee of Amsterdam, also a well-known organ-builder. The mechanism has seventy-five keys, eight of which are for the basses and trombones, ten for the accompaniments, twenty-two for the melody, and seventeen for the counter-melody. The remaining keys are for the percussion instruments (bass drum, side drum and cymbals), the conductor and the registers. The organ has three registers for the melody: violin (fairly strong, string-toned flutes), bourdon (a special barrel-organ register of bright-sounding, sustained flutes), and metallophone (steel plates). There are four registers for the counter-melody: celeste, cello, baritone and triphone. Is it any wonder, then, that The Arab is a mighty experience when in full voice?
Here, then, is The Arab in a program of remarkable virtuosity, demonstrating all its stirring capabilities. Whether in popular favorites such as Mister Sandman and Oh Baby Mine or rousing marches like the March of the Herald, it adds a voice in the sounds of the world that is absolutely unique and unclassifiable. As our merry-go-round organs maintain their special nostalgic appeal, so does The Arab. It conjures up a world where everything is bright and gay, where spirits and hearts are high, and where a childlike delight in the texture of sound can revel in such merry music. Follow along with The Arab a little way, then, and learn the pleasures of such a sunny world. (from the liner notes)
Tracklisting:

Side A

1. Va Pensiero {2:42}

2. Heut' Nacht wenn die Blumen traumen {2:40}

3. Blaze Away {2:22}

4. La plus belle valse d'amour {2:47}

5. Rose-Maria Polka/Anneliese/The Happy Wanderer {2:36}

Side B

1. La Ronde de l'amour {2:12}

2. Oh Baby Mine/Mister Sandman {2:42}

3. March of the Herald {2:17}

4. The Theme from Limelight/Vaya con Dios {2:35}

5. Mit Musik durch's Leben {2:19}

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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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A Tour Through the Music Box Arcade

A Tour Through the Music Box Arcade

released on LP

Rarely do we have the opportunity to hear the sounds of a past era. "A Tour Through the Music Box Arcade" and "Music of the Roaring Twenties" is an L.P. Hi-Fidelity recording of some of the world's most famous and intricate music boxes.

Old timers will recall many of the mechanical marvels recorded here but it will be a new auditory experience for the younger generation.

In 1938 Herb and Bob Horn began the acquisition of what is now the world's greatest collection of music boxes. These date back to 1790 and each has been painstakingly restored to original playing condition. Almost a hundred, of the three hundred in the collection, are described and played in delightful shows in their fabulous Sarasota, Florida, attraction.

In this specially constructed turn-of-the-century building is displayed one of the world's largest and finest restored collections of antique and classic automobiles. Music, settings, costumes and the displays create a charming "Gay Nineties" atmosphere.

Horn's Cars of Yesterday and Music Box Arcade was built in 1952 as a showplace for the extensive collections of these antique music boxes and early American automobiles.

The Horn brothers manufactured school equipment and farm machinery, and in these plants, they acquired the skills necessary for the exacting mechanics of restoration work. They learned every job in the business from precise machine work to inventing, designing and developing mechanical processes.

The love of early mechanical innovations was the motivating force that led Herb and Bob Horn into the hobbies of collecting and restoring the devices that were responsible for changing our way of living.

"A TOUR THROUGH THE MUSIC BOX ARCADE" traces the development of music boxes through the years right up to the hey-day of the phonograph.

"MUSIC OF THE ROARING TWENTIES" presents the machines that were used to attract and hold crowds of people. Some were called nickelodeons and were found in saloons, restaurants and hotel lobbies. Others supplied music for the skating rinks, theatres, circuses, political rallies, sporting events and other outdoor attractions of the period. (from the liner notes)



Tracklisting:

Side 1

1. A Tour Through the Music Box Arcade {25:13}

Side 2

1. Music of the Roaring Twenties {25:50}

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Realm of the Incas

Elisabeth Waldo - Realm of the Incas

released on LP

I would like to share with you another musical exploration into the mystic Realms of the Ancient Americas - the Realm of the Incas! Through his musical instruments, and those of other brilliant Indian Civilizations which preceded him (Nazca, Mochica, Chimu, etc), it is conceivable that the Inca had a high degree of musical development rivaling his other great accomplishments of art and architecture. A semblance of the ancient music still exists in remote areas but is fast disappearing with the discordant advances of modern living.

So whether it was a descendant of these Quechua-Aymara speaking families who hummed an ancient air in my ear, or a reference from the Archives of the Conquistadores, I have striven with these rare instruments of bone and clay, superimposed on modern instruments, to maintain the characteristics and awesome sounds of this nation as it comes alive in my mind.

"Taqui" a "dance-song" was the principal musical form of Incan times. It was always blended in religious expression, and suggests stately rituals and pagan festivals. The simple five tone scale predominates and in turn is plaintive, lyrical and rhythmic. I have used an abundance of appogiaturas, mournful cadences, and suspension endings - all characteristics which make this music definable and contribute to the exotic quality.

Besides the musical possibilities of the Pre-Columbian past, the Entrance of Pizzaro heralded another transformation. The clash of ideals which followed with the impact of the European culture and musical instruments on aboriginal tastes is one of the engaging stories of all times. The results? A hardy "Mestizo" music which is the outgrowth and blending of these two forces culminating in the creation of new American musical forms that could not have been duplicated in any other section of the world.

The Spanish stringed instruments were adopted by the Indians and with their own brand of modification, used freely in interpreting their native music.

I have found that the Indian of all areas leaves his stamp on his musical contributions as indelibly as the African leaves his mark on the better known Afro-forms. Above all, the Indian, of noble soul, strives his entire life to unite the forces of man and nature about him. (Elisabeth Waldo)



Tracklisting:

Side 1

1. Land of the Sun Kings {3:35}

2. Song of the Chasqui {2:41}

3. Incan Festival Dance {2:35}

4. On the High Plateau {2:56}

5. Making Chicha {2:12}

Side 2

1. Balsa Boat {4:06}

2. Swinging the Quipu {2:54}

3. Saycusca! (The Weary Stones) {3:38}

4. Dance of the Nustas {2:38}

5. Entrance of Pizzaro {3:47}

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Maracatu [REPOST]

The Elisabeth Waldo Group - Maracatu

released on LP

Performers:

Elisabeth Waldo - violin
Burnett Atkinson - woodwinds
Guy Horn - guitar
Peter Mercurio - string bass
Jose Pablos and Chet Ricard - percussion

Lovers of the unusual will find this album a fascinating offering of music and sounds from the lands of contrast. Mystic - rhythmic - exotic - plaintive - whether the strains that predominate have grown out of Indian, Spanish or African influences, or whether they have their roots in remote jungle lowlands, high mountain peaks or isolated villages - the strains are immersed in the primitive and filled with spiritual symbolism.

Before the advent of the "Conquistadores," no stringed instruments existed in this hemisphere. With the introduction of the violin and the guitar by the Spanish, a fantastic musical change took place with the superimposition of these instruments on the barbaric percussion and the woodwind instruments that already existed in aboriginal America. The Indians and jungle peoples set about carving new instruments in the likeness of those they had seen, thus creating new sounds and scales. And so, the stone hatchet of the jungles, born before the discovery of America, exists today side by side with that which has been contributed by the European culture. This music is the offspring of those two interwoven cultures. (from the liner notes)



Tracklisting:

Side 1

1. Siembra {2:51}

2. Carnavalito {1:57}

3. I Coos (Oh Joyous Wind) {2:23}

4. Cueca {2:55}

5. Cancion del Carretero (Song of the Carretero) {2:35}

6. Maracatú {3:51}

Side 2

7. Tun-kul {2:52}

8. Tamborito {2:43}

9. Seri Lullaby {2:20}

10. "La Llorona" (The Weeper) {2:47}

11. Indian Procession (Lament to the Dead Emperor) {2:43}

12. Malaguena {2:55}

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The Art of the Hurdy-Gurdy: From the Middle Ages to Mozart

various artists compilation - The Art of the Hurdy-Gurdy: From the Middle Ages to Mozart

cassette released in 1975

Performers:

Michele Fromenteau - hurdy-gurdy
Francoise Cotte and Brigitte Haudebourg - harpsichords
orchestra directed by Roger Cotte

The hurdy gurdy or hurdy-gurdy (also known as a wheel fiddle) is a stringed musical instrument that produces sound by a crank-turned rosined wheel rubbing against the strings. The wheel functions much like a violin bow, and single notes played on the instrument sound similar to a violin. Melodies are played on a keyboard that presses tangents (small wedges, usually made of wood) against one or more of the strings to change their pitch. Like most other acoustic string instruments, it has a soundboard to make the vibration of the strings audible.

Most hurdy gurdies have multiple "drone strings," which provide a constant pitch accompaniment to the melody, resulting in a sound similar to that of bagpipes. For this reason, the hurdy gurdy is often used interchangeably with or along with bagpipes, particularly in French and contemporary Hungarian folk music.
...
During the Renaissance, the hurdy gurdy was a very popular instrument, along with the bagpipe, and a characteristic form with a short neck and a boxy body with a curved tail end developed. It was about this time that buzzing bridges first appear in depictions of the instrument. The buzzing bridge (commonly called the dog) is an asymmetrical bridge that rests under a drone string on the sound board. When the wheel is accelerated, one foot of the bridge lifts up from the soundboard and vibrates, creating a buzzing sound. The buzzing bridge is thought to have been borrowed from the tromba marina (monochord), a bowed string instrument.

During the late Renaissance, two characteristic shapes of hurdy gurdies developed. The first was guitar-shaped and the second had a rounded lute-type body made of staves. The lute body is especially characteristic of French instruments.

By the end of the 17th century changing musical tastes that demanded greater polyphonic capabilities than the hurdy gurdy could offer had pushed the instrument to the lowest social classes; as a result it acquired names like the German Bauernleier ‘peasant’s lyre’ and Bettlerleier ‘beggar’s lyre.’ During the 18th century, however, French Rococo tastes for rustic diversions brought the hurdy gurdy back to the attention of the upper classes, where it acquired tremendous popularity among the nobility, with famous composers writing works for the hurdy gurdy (the most famous of which is Nicolas Chédeville’s Il pastor Fido, attributed to Vivaldi). At this time the most common style of hurdy gurdy developed, the six-string vielle à roue. This instrument has two melody strings and four drones tuned such that by turning drones on or off, the instrument can be played in multiple keys (e.g., C and G or G and D).

During this time the hurdy gurdy also spread further east, where further variations developed in western Slavic countries, German-speaking areas and Hungary (see the list of types below for more information on these). Most types of hurdy gurdy were essentially extinct by the early twentieth century, but a few have survived—the best-known of which are the French vielle à roue, the Hungarian tekerőlant, and the Spanish zanfona. In Ukraine, a variety called the lira was widely used by blind street musicians, most of whom were purged by Stalin in the 1930s. Today the tradition has resurfaced. Revivals have been underway for many years as well in Sweden, Germany, Austria, Czech Republic, Poland, Russia, Italy, Spain and Portugal. The revival of hurdy gurdies has resulted in the instrument’s use in a variety of styles of music including contemporary forms not typically associated with the hurdy gurdy. (from Wikipedia)

Tracklisting:

1. Danse Royale {1:08}
unknown composer, for hurdy-gurdy and percussion

2. Danceries of Thoinot Arbeau {1:21}
unknown composer, for hurdy-gurdy and percussion

3. Suite of Contredances {3:37}
unknown composer, for hurdy-gurdy and tambuorine

4. Noce Champetre {3:39}
composed by Jean Hotteterre, for hurdy-gurdy, cello and harpsichord

5. "Laissez Paitre vos Betes" {1:54}
composed by Esprit Philippe Chedeville, for hurdy-gurdy and violin

6. Suite Pastorale {6:42}
composed by Charles Buterne, for hurdy-gurdy, harpsichord and bassoon

Side 2

1. "Il Pastor Fido" Sonata No. 1 {8:56}
composed by Antonio Vivaldi, for hurdy-gurdy, cello and harpsichord

2. "La Servante au Bon Tabac" {1:59}
composed by Michel Corrette, for hurdy-gurdy and orchestra

3. "Aire de Fanchon la Vielleuse" {1:18}
composed by J.D. Doche, hurdy-gurdy solo

4. German Dance No. 3 K. 602/Menuet No. 2 K. 601 {3:33}
composed by Wolfgang Amadeus Mozart, for hurdy-gurdy and orchestra

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Tropes on the Salve Regina

Michael Sahl - Tropes on the Salve Regina

LP released sometime during the late 1960s to very early 1970s [educational guess]

Recently, I stumbled upon a copy of this LP in my favorite local flea market. Of course, I'm familiar with Lyrichord and its killer back catalogue, but this is the first Lyrichord LP or release I've seen labeled 'electronic music'. I wasn't even aware Lyrichord released electronic music until now. I am currently investigating if there were more Lyrichord electronic music releases and if so, how many more and what are they. At least, I'm familiar with Michael Sahl as I had a post about one of his other pieces on this blog a couple of years ago.

I would think that there would be synthesizers featured on this record. No liner notes are placed on this release, but still a safe assumption. When I put this LP on the turntable, I heard meandering electric guitar with echoing heavily processed plucking alongside. Nearly the entire piece is a recording of guitar strumming that is manipulated, processed, and played back at different speeds. There are moments of musique concrete throughout the piece. It wasn't what I expected, but it's still one of my favorite finds of this year which has been sort of a down year so far in terms of finding stuff in the second-hand shops.




Tracklisting:

Side 1

1. Tropes on the Salve Regina {24:21}

Side 2

1. Tropes on the Salve Regina continued {16:00}

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Steam Locomotive Rail Sounds: A Farewell to Steam

High Fidelity Recordings, Inc. - Steam Locomotive Rail Sounds: A Farewell to Steam

LP released in 1958

This recording tells a story - the story of that bright winter day, when the Atchison, Topeka and Santa Fe Railway ran the last train on the Los Angeles Division to be pulled by a steam locomotive.

Many people had thought that Steam would never die, that there would always be trains pulled by giant steamers travelling the Santa Fe mainline from Los Angeles to San Bernardino and Barstow and points east. Steam locomotives and the railroads on which they ran had built the west. The bright, shiny diesels had come in ever increasing numbers since the end of World War II and though Steam was used less and less no one thought that the day would actually come when there would be no more laboring exhaust nor mournful whistle of the steam locomotive. But - that day had come, and to mark Steam's passing a group of railroad and travel enthusiasts known as the Railway Club of Southern California asked to operate the last steam train over this route, to literally say "Farewell to Steam" on the Santa Fe in Southern California! Supported by more than 400 people who "just wanted to ride behind a Steamer once again" the eight-car special train was a complete sell-out, and all along the mainline from Los Angeles to Barstow hundreds more stopped their cars or stood by the track to watch and wave or to photograph and record the passing of Steam. Under the expert handling of Road Foreman of Engines A. F. Murdock, Engineer H. L. Bryant and Fireman C. P. Kyer 4-8-4 locomotive 3759 ended 26 years of faithful service in a blaze of glory that will not soon be forgotten.

Maybe you were one of those who said "Farewell to Steam" that day, or perhaps you have never before heard the sounds of a Santa Fe steam locomotive in action. Now, through the medium of high fidelity recording you may take part in this wonderful adventure in Steam Railroading. To those of you who have fond memories of the steam locomotive and the enchantment that its sounds could bring, this recording is especially dedicated. (from the liner notes)



I'm going on a short yet much needed vacation. I won't actually be on a train although I wish it was so. I should be back sometime next week.

Tracklisting:

Side One

1. Los Angeles to San Bernardino {17:06}

Side Two

1. San Bernardino to Barstow {8:17}

2. Sounds of Southern Pacific Trains at Santa Barbara {10:11}

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Under the Earth Tones

Didgeri Dudes - Under the Earth Tones

released in 1997

Under the Earth Tones is the second album of experimental didgeridoo music by Jamie Cunningham and Brian Pertl, a.k.a. the Didgeri Dudes. The didgeridoo is an ancient Australian Aboriginal wind instrument that is capable of producing a wide variety of sounds utilizing combinations of pursed tones, harmonic manipulation, vocalizations, and circular breathing techniques. Using a sonic palette of traditional and modern didgeridoos made from wood, bamboo, plastic pipe, and cactus, the Didgeri Dudes and special guest Stuart Dempster paint ambient textures on the canvas of an abandoned two-million gallon underground water cistern at Fort Worden, near Port Townsend, Washington. This huge circular subterranean chamber boasts an extremely long reverberation of well over a minute requiring the musicians therein to play the acoustic space as an instrument. The recording was made during a marathon fourteen-hour session in the dank darkness of the cistern, illuminated only by the light that filtered through the small roof-top entrance. The effect of being totally immersed in pure sound for an extended period left the performers emotionally charged and euphoric at day's end. To recreate the dynamic and meditative ambiance of this incredible space, we recommend a quiet listening environment and high-quality speakers or headphones. No overdubbing, electronic effects, nor artificial reverberation was used in this stereo mix from the live four-channel digital recording. (from the liner notes)

Tracklisting:

1. Magma {9:32}

2. Land of Snows {14:52}

3. Cosmic Frogs {7:56}

4. Orion Nebula {19:56}

5. Shudder {9:31}

6. Final Peace {8:19}

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Ivory Coast: Dan Masks

The Dan people - Ivory Coast: Dan Masks

music recorded from 1965-1967; released in 1992

Technically speaking, a person wearing a mask acquires beneath this disguise another personality. According to Black African religious belief, the wearer of the mask abandons his human personality to incarnate a supernatural being, most often an ancestral spirit, a mythical figure or a bush spirit. This metamorphosis occurs, from the technical point of view, in three ways: in outward appearance (costume, facial mask), behaviour (gestures, dance movements) and in the voice.

While African masks, above all the face mask, are readily identified worldwide thanks to museum collections and books on African art, their distinctive voices are much less well-known. The voice is, nevertheless, essential to mask performances. Although it is true that there are masks without a voice, there are others which exist exclusively through their sound without any visual disguise.

The Dan people, with their great variety of masks, live in the mountainous West of the Ivory Coast and, and over the border, in the Liberian outback. The greatest part of modern-day Dan country lies in an Atlantic forest zone which, in the mountainous Northern region, gives way to Sudanese savanna. The Dan are great cultivators of dry rice, manioc and, nowadays, of coffee; they also breed small animals and cattle. On the Ivory Coast, where their official name is the Yacuba, the Dan numbered approximately 250,000 in the sixties; in Liberia where their official name is Gio their number was estimated at roughly 100,000. "Dan" is the name of their language (themselves they call "people who speak Dan"), and it is under this name that they have become renowned for their plastic arts, especially their beautiful masks in sculpted wood.

These facial masks are called geego, "head mask", the more general name gee (glo in the South-Western part) designating the whole character. The gee, supposed to come from the bush, are supernatural beings endowed with special powers. Although everyone knows it is the village men who incarnate these gee (in principle the women are supposed to ignore this, but are well aware - in fact they even have their own masks) this in no way diminishes their supernatural power: sacrifices are made to them, blessing is implored of them and they are obeyed. A want of respect for masks is a serious offence, in the past severely punished, to one's society and religion.

Masks have their own hierarchy - some have a strong supernatural power and only appear two or three times in a lifetime. Others are just for public entertainment and brought out at any number of festivities. Some have no voice, others speak. There are many which both speak and sing or yet have a voice manifested through music. A mask's voice and its place hierarchically have no connection: music is used just as expressively with the most modest masks as with the most powerful.

The Dan have two distinct kinds of masks: the "dressed masks" (gee basi) and the "doffed masks" (gee kpa). The first are masks that one sees everywhere: men with a costume covering them entirely and a facial mask (geego). The second are sound masks created solely by their voices.

A mask is generally accompanied by an assistant-interpreter geesioe who repeats or "translates" his words when they are hard to understand, dialogues with him and, in the case of a mask who expresses himself through singing or instrumental music, sings with him. The Dan classify their "dressed" masks in a certain number of categories according to their appearance (facial mask, head-dress, costume), their behaviour (peaceful or violent, dance, acrobatics) and their voice (if they have one). As well as their classifying name, a particular mask in a certain village has a proper name of its own. With certain "doffed" masks, no distinction seems to be made between their classifying name and their identical proper name.

Since the Dan consider their masks (gee) as supernatural beings, neither the spoken nor sung voices of their incarnation can be human. Their wearers must transform their voices into the voices of supernatural beings. The Dan have perfected three techniques to achieve this - they either distort their own voice, alter their vocal timbre by speaking into an instrument, or replace the voice with instruments hidden from the uninitiated. (Hugo Zemp,translated by Jeffrey Grice)

Tracks 1 to 9 are devoted to "Dressed masks" and tracks 10 to 16 to "Doffed masks".

Tracklisting:

1. Geego "Male Mask" {4:13}

2. Geegble "Long Mask" {4:26}

3. Geekezi "Wicked Mask" {4:21}

4. Geenoonoe "Young Girl Mask" {3:01}

5. Glukoeglo "War-making Mask" {3:42}

6. Kagee "Masks with forked Sticks" {3:49}

7. Wepoekoegee "Mask that makes Comedy" {3:14}

8. Giata (The Masks' Race) {3:18}

9. Gia {4:14}

10. Geeglu "Multiple Mask" {3:10}

11. Gbinggee "Night Mask" {3:20}

12. Geemaanoe "Little Bird Mask"/Geeyibo "Mask that eats Water/Pawo {4:20}

13. Geewova "Mask with the big voice" {0:47}

14. Kong (Women's Mask) {3:44}

15. Wodongdogo/baagadioe/geiyomlo {3:12}

16. Blibana (Women's Mask) {2:40}

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