I. Instrument examples
|1||Central African Republic||Example of "talking instrument"||Pit xylophone||See Music of the Peoples of the World, p. 50, graphic 6.3||0:13|
|2||Ghana||Example of donno or luna drum||Donno||A performance of rhythms of the Tigari cult of the Dagomba
people of North Ghana.
See Music of the Peoples of the World, p. 42 fig. 5.29
|Mustapha Tettey Addy||1:08|
|3||Ghana||Example of gongs ga (gankogui) double iron bells||Gongs ga||From the Ga people of southern Ghana.
See Music of the Peoples of the World, p. 56
|Mustapha Tettey Addy||0:37|
|4||Burundi||Example of whisper-singing vocal technique||Voice, inanga||A professional performer who sings a praise song for a patron and accompanies himself on the inanga trough-zither.||0:48|
|5||Central African Republic||Example of yodeling vocal technique||Voice||A lullaby sung by a woman who also claps her hands.||0:38|
|6||Burundi||Example of notched, end-blown flute||Played by an anonymous shepherd. This instrument is made
of dried bark and has between two and four holes.
See Music of the Peoples of the World, p. 53 fig. 6.4
|7||Gabon||Example of mugongo (musical bow)||Mugongo||With rattan string. The player's mouth acts as a resonator.
See Music of the Peoples of the World, p. 54 fig. 6.6
|8||Kenya||Example of bungo horn||Bungo, kayamba (rattles)||An aerophone played with buzzed lips like a trumpet made
from a large wooden tube with a gourd extension.
See Music of the Peoples of the World, p. 53 fig. 6.5
|9||Guinea||Example of a seron (lyre)||Seron||17 strings. The professional performer is singing part
of an epic about a Malinke warrior.
See Music of the Peoples of the World, p. 54 fig. 6.7 (a similar lyre).
|10||Burundi||Example of inanga (trough zither)||Inanga||8 strings made of ox tendons.
See Music of the Peoples of the World, p. 55 fig. 6.9b
II. Traditional Music
|11||Ghana||Atsia Suite (Hatsiatsia and Circle Atsia [Style or Display]||Ewe drumming ensemble||See Music of the Peoples of the World, p. 58-62||Zadonu African Music and Dance Company, Kobla Ladzekpo, director (CalArts LP 12219)||8:29|
|12||Ghana||Hatsiatsia parts from Atsia [track 11]||Atoke 1, atoke 2, gankogui 1, gankogui 2||See Music of the Peoples of the World, p. 58||Alfred Ladzekpo||1:02|
|13||Ghana||Circle Atsia examples||Gankogui, axatse, kaganu, kidi, sogo||See Music of the Peoples of the World, p. 60-61||Alfred Ladzekpo||1:18|
|14||Ghana||Atsimewu signals and patterns from Circle Atsia [track 1]||Atsimewu drum||See Music of the Peoples of the World, p. 60||Alfred Ladzekpo||1:23|
|15||Ghana||Donno drummers||Four donno players and one gyamadudu. (Among the Dagbamba people these drums are called the luna and gun-gon, respectively.)||From Yeji, a village in northern Ghana. Such ensembles are common sights at markets and festivals in this region.||3:25|
|16||Senegal||Jali Nyama Suso -- Yundum Nko||2 kora (harp-lutes) and voice||Praise-song commemorating a Gambian man, sung by a jali
or professional musician of the Mande people of West Africa.
See Music of the Peoples of the World, p. 64-66
|Jail Nyama Suso.||5:00|
|17||Democratic Republic of Congo (Zaire)||Honey Gathering Song||Chorus, koko (wooden clappers)||The Pygmies of Central Africa are known for their dense polyphony in addition to their use of polyrhythm. In this song. In this song the "buzz" of the polyphony imitates the sound of the bees.||Mbuti pygmies of the Ituri Forest.||1:32|
|18||Zimbabwe||Nhemamusasa||2 mbira dzavadzimu, hosho||See Music of the Peoples of the World, p. 67-68||Hakurotwi Mude, Cosmas Magaya, and Ephraim Mutemasango||6:30|
|19||Zimbabwe||Nhemamusasa examples: basic ostinato, high melody, middle melody, low melody||mbira dzavadzimu||See Music of the Peoples of the World, p. 67-68||0:56|
III. Popular Music
|20||Nigeria||Fela Anikulapo Kuti -- No Buredi [No bread], 1976||Afro-beat/Highlife
See Music of the Peoples of the World, p. 72-76
|Fela and The Africa 70||3:26|
|21||Democratic Republic of Congo (Zaire)||Kanda Bongo Man -- excerpt from Liza (1993)||Soukous||Kanda Bongo Man and band||7:34|
IV. Fusion Art Music
|22||South Africa||Kevin Volans -- White Man Sleeps, first movement (1985)||String quartet||Kronos String Quartet||4:25|
I. Instrument Examples
|1||Bahrain||Example of ‘ud from performance of taqsim in maqam Hejaz||‘ud||The ‘ud is a fretless pear-shaped lute.
See Music of the Peoples of the World, p. 84, top
|2||Iran||Example of sehtar from performance in dastgah al-Shari||sehtar||The sehtar is a fretted long-necked lute.
See Music of the Peoples of the World, p. 84 second from top
|Hussein Ali Zodeh||0:50|
|3||Egypt||Example of rabab (from Zahrat el loxor [The Rose of Luxor])||rabab||The rabab is a bowed spike fiddle.
See Music of the Peoples of the World, p. 84 bottom
|Metqal Quenaoui Metqal and Les musiciens du Nil||0:35|
|4||Egypt||Example of arghul (from a performance of a taqsim)||arghul||The arghul is a double clarinet. This is an example of
the smallest Eqyptian version, called the arghul al asghar or orma.
See Music of the Peoples of the World, p. 86 second from top
|Mustafa Abdel Aziz||0:40|
|5||Egypt||Example of mizmar (from a performance of a taqsim)||Three mizmars and tabla baladi (drum)||See Music of the Peoples of the World, p. 86 top (the similar zurna)||Qenawi Bakhit Genawi and Les musiciens du Nil||0:36|
|6||Turkey||Example of a nay and frame drum (from Semai in maqam Hidjat, composed by Nayi Osman Dedl, 17th century)||Two nays and a def (frame drum)||The nay is a notch-blown vertical flute. This piece is
from the Sufi tradition of Turkey.
See Music of the Peoples of the World, p. 85 bottom and p. 86 second from bottom
|Kudsi Erguner and Süleyman Erguner||0:46|
|7||Egypt||Example of darabukka (from Ya faraoule [Oh, Strawberry]||The darabukka is a tuned goblet drum.||Saïd Mohammed Ali and Les musiciens du Nil
See Music of the Peoples of the World, p. 86 bottom
|II. Islamic Music|
|8||Egypt||Adhan||Solo chant||The Islamic call to prayer.
See Music of the Peoples of the World, p. 83
|9||Algeria||Qur'an recitation||Chorus chant||See Music of the Peoples of the World, p. 82-83||The religious brotherhood of Al-Ateuf||2:28|
|10||Egypt||Dhikr [Remembrance]||Sufi ceremony
See Music of the Peoples of the World, p. 83
|Members of the Guneydiyah sect of the Fayoum Oasis, led by Ismail Ali Hasan and Abdel Hamid Abdel Aziz||2:20|
|III. Classical Music|
|11||Bahrain||Taqsim in maqam hijaz||‘Ud||See Music of the Peoples of the World, p. 87 Graphic 7.3||Sultan Hamid||3:30|
|12||Egypt||Aamedat el Karnak [The Pillars at Karnak]||Les Musiciens du Nil||6:07|
|13||Lebanon||Waslah in Maqam Huzam||Violin, qanun, ‘ud, riqq||See Music of the Peoples of the World, p. 91-92||Ensemble of Classical Arab Music: Nidaa Abou Mrad (violin), Mohamad Ayache (voice and ‘ud), Maria Makhoul (qanun), and Ali Wehbè (Byblos Records)||4:20|
|14||Iran||Dastgah Mahur||Tar||See Music of the Peoples of the World, p. 97-98||Hussein Ali Zodeh (Topic Records Ltd.)||5:00|
|IV. Popular Music|
[How do hearts own you?
by Riad al-Sunbati and Ahmed Rami
|Singer and firqa orchestra||A qasidah in maqam bayati
See Music of the Peoples of the World, p. 93 and fig. 7.3
by Fathy Salama
|Mizmar, rabab, arghul, tabl baladi, electric bass guitar, riqq, bongos, nay, qanun||A modern composition that imitates wedding ensembles of Upper Egypt, alternating maqam saba and maqam bayati shuri.
See Music of the Peoples of the World, p. 94 and fig. 7.4
|V. Jewish Music|
|17||Israel||Example of shofar||Shofar horns||See Music of the Peoples of the World, p. 99 fig. 7.6||0:17|
|18||Israel||Hava Netze Bamachol/El Ginat Egoz/Hora Eylat (Let Us Go to the Dance/To the Garden of Walnut/The Hora of Eylat)||Flute, guitar, accordion, and drums||Israeli folk dance||5:39|
|19||USA||Rumenisher Doyne||Klezmer band.||A "doina" is a type of lament from Romania derived from
Jewish cantor songs. This version was originally recorded in the US in
See Music of the Peoples of the World, p. 102-104
|Klezmer Conservatory Band with Don Byron, clarinet.||3:59|
I. Instrument examples
|1||Bulgaria||Example of gadulka||Gadulka (3- or 4-string fiddle found throughout Eastern Europe) and voice.||This excerpt is from
Zhalna goro, zhal mi e za tebe,
a piece performed while guests are seated for a wedding feast.
See Music of the Peoples of the World, p. 118 fig. 8.9
|2||Bulgaria||Example of kaval||Kaval (a rim-blown notch flute held diagonally from the mouth)||This excerpt comes from a piece called
See Music of the Peoples of the World, p. 117 fig. 8.8
|3||Bulgaria||Example of gaida||Gaida (a folk bagpipe common, with different names, throughout rural areas of Eastern Europe) and voice||This example comes from a piece called Lichkoljo glaven
See Music of the Peoples of the World, p. 118 fig. 8.10
|4||Bulgaria||Example of zurna and tupan||The zurna loud double-reed with a bell-flare like those in the Middle East or Western Europe in the Middle Ages (shawm). The tupan is a large cylindrical drum.||This excerpt comes from a piece called
See Music of the Peoples of the World, p. 117 fig. 8.8, left
|5||Bulgaria||Vetar Vee [The Wind Blows] (Example of singing style)||2 voices.||This brief duet of women singers is a good example of
some distinctive characteristics of Bulgarian singing: a bright, almost
harsh tone; improvised polyphony including dissonant seconds; the use of
glottal stops and sliding pitches; and the provikvaniya, a yell-like
ornament heard at the end of the selection. Translation of lyrics:
The wind blows
and the forest is swaying.
and the forest is swaying.
|6||Lithuania||Example of kankles||Kankles (a 5- to 10-string plucked zither, similar to those in many other areas of Eastern Europe) and voice.||Kankles are often played in ensembles in the Baltics
and Belarus. This example comes from "In the Woods," a folk song arranged
for an ensemble of kankles and singer using modern harmonies.
For a similar instrument, see Music of the Peoples of the World, p. 122 fig. 8.13
|7||Lithuania||Example of skudakai||Skudakai (a set of end-blown wooden pipes)||Often played by an ensemble of 3 to 6 players. Each pipe can play only one note, so melodies have to be formed by precise alternation playing. This excerpt comes from a piece called Grandmother Herds the Billy-Goat.||0:48|
II. Hungarian and Romani music
|8||Romania||Sirba Nuntasilor||Gypsy orchestra||An example of the "gypsy" style played by urban bands
in Eastern Europe.
See Music of the Peoples of the World, p. 113-114, fig. 8.4
|Ion Albesteanu (violin) and his orchestra.||3:13|
|9||Hungary||Harom Magyar Nepdal||Folk orchestra, including violins, cimbalom, clarinet, and other instruments||A traditional song in a modern arrangement that demonstrates
both the parlando-rubato and tempo giusto styles of traditional Hungarian
See Music of the Peoples of the World, p. 114
|Szöllössi Erzsébet (voice), with the folk music group Maros||3:18|
|10||Hungary||Aj ke sostar mange [What is my young life for?]||See Music of the Peoples of the World, p. 116||Rézmüves and Balog Families (Hungariton Records)||5:14|
|11||Hungary||Béla Bartók -- Movement 4 from Music for Strings, Percussion, and Celeste (1936)||Orchestra||Béla Bartók was a leading modern composer of the 20th century and also a pioneering ethnomusicologist. He applied his study of Eastern European music to his art music compositions such as this one.||BRT Philharmonic Orchestra, conducted by Alexander Rahbari||8:31|
|12||Bulgaria||Krivo Horo [Crooked Dance]||Gadulka, tambura, kaval, gaida, and tupan.||See Music of the Peoples of the World, p. 117-118||Bitov orchestra||1:51|
|13||Bulgaria||Dilmano, Dilbero||Chorus and folk ensemble||See Music of the Peoples of the World, p. 119-120||Koutev National Folk Ensemble (JVC International records)||1:37|
|14||Bulgaria||Polegnala e Todora [Theodora is sleeping]||Chorus||In this love song, Todora reproaches the wind for waking her. She was dreaming of her lover bringing her flowers to celebrate their engagement. This is a modern arrangement by the "father of the Bulgarian concert folk music tradition," Philip Koutev (1903-1982).||Bulgarian State Radio and Television Female Choir.||3:10|
|15||Russia||Play, Skomoroshek||Chorus||A Russian formula song sung as a lamentation at weddings.
See Music of the Peoples of the World, p. 123-124
|Dmitry Pokrovsky Ensemble||2:01|
|16||Russia||Excerpt from Svadebka [The Wedding] (1917-21) by Igor Stravinsky||Chorus, pianos, percussion.||This work was the culmination of Stravinksy's period
of interest in Russian folklore. It sets bits of dialogue and song from
traditional Russian peasant weddings in a stream-of-consciousness manner.
It is scored for solo singers, chorus, four pianos, and percussion. In
this section that ends the 23-minute work, we hear scenes from the wedding
feast, where the bride's father is teased for "selling" his daughter for
drink (see track #14), the bride and groom are toasted, and then finally
sent to bed with ritual wedding night song. As the bride and groom disappear
into the bedroom, the church bells toll in the distance.
See Music of the Peoples of the World, p. 122
|1||Argentina||El Choclo [Lit. The Ear of Corn, Eng. version Kiss of Fire]||Hotel orchestra of four bandoneon (accordions), five violins, piano, and bass||An Argentinian tango||2:46|
|2||Parguay||Llegada [Arrival]||Guaraní harp and guitar||An adaptation of a folk song in the style of a galopa dance.||3:08|
|3||Mexico||Siquisiri||Son||See Music of the Peoples of the World, p. 160-164||Grupo Chicontepec||3:22|
|4||Mexico||Silvestre Revueltas (1899-1940) -- "Baile" from Homenaje a Federico Garcia Lorca. ["Dance" from Homage for Federico Garcia Lorca] (1935)||Chamber orchestra||Revueltas here imitates the lively dances of popular
urban ensembles, who sometimes compete for listeners and play at the same
time. This colorful and spirited evocation is framed by a more serious
lament played by a lone trumpet, but both are ways that Revueltas does
homage to the great Spanish poet Federico Garcia Lorca, who was killed
in the Spanish Civil War just prior to the composition of this piece.
See Music of the Peoples of the World, p. 165
|Fernando Lozano cond. Orchestre Philharmonique de Mexico||2:21|
|5||Cuba||Eleggua||Batá drum ensemble.||A ritual in the Santaria religion, calling the oricha (spirit)
See Music of the Peoples of the World, p. 153-154, 166-167
|Conjunto Folklorico Nacional de Cuba||2:29|
|6||Cuba||María Teresa Vera -- Veinte Años||Bolero
See Music of the Peoples of the World, p. 167-168, 173
|Buena Vista Social Club||1:43|
|7||Cuba||Arsenio Rodriguez -- Tumba y bongó||Son montuno
See Music of the Peoples of the World, p. 170-172
|Candido con Arsenio Rodriguez y Estrellas||2:54|
|8||Brazil||Amazônia||An Afro-Brazilian religious song from northeastern
Brazil. This is a greeting song for the symbolic arrival of dieties at
the festival of Oxóssi-São Sebastião.
See Music of the Peoples of the World, p. 174
|9||Brazil||Ritmo||Samba Batucada||See Music of the Peoples of the World, p. 175, 177-179||Nelsinho e Sua Orquestra
|10||Brazil||Jorge Ben -- Ponta de Lança Africano (Umbabarauma) (1976)||An example of MPB, popular music originally based on
the samba, but also influenced by jazz, rock, and, in this case, Afro-Brazilian
songs. It is a celebration of an Afro-Brazilian soccer star. Translation
Umbabarauma, goal man
Play ball, play ball, corocondo
Play ball, play ball, ball player
Jump, jump, fall, get up, go up get down
Kick, open a hole, thrill and give thanks
See how the whole city empties out
on this beautiful afternoon
Just to see you play.
Umbabarauma, goal man
Play ball, play ball, corocondo
Play ball, play ball, ball player
Here here here, corocondo
Terere terere terere terere goal man
Terere terere terere terere goal
This is the story of Umbabarauma
An African point man
A point man whose mind is made up
See Music of the Peoples of the World, p. 175-176
|Jorge Ben and band||4:08|
|11||Brazil||Morena, Morena [The Dark Woman]||Voice, guitar, cello, and two recorders||A nineteenth-century modhina of uncertain authorship.
See Music of the Peoples of the World, p. 176
|12||Peru||Excerpt from Palomita torkasita||Harp||A huayno
See Music of the Peoples of the World, p. 181 and p. 37 fig. 5.13
|13||Bolivia||Yawar mallcu||Sikus (pan-pipes) and drum.||An indigenous folksong
See Music of the Peoples of the World, p. 181, fig. 10.18 and 10.19
I. Brief Examples
|1||India||Invocation to Kubera||voice||Vedic chant from the Sama-veda
See Music of the Peoples of the World, p. 245-246 & fig. 13.2
|2||North India||Raga Desh examples (that, arohana/avarohana, chalan)||Sarod||See Music of the Peoples of the World, p. 256, Graphic 13.1||David Trasoff||0:57|
|3||North India||Raga Khamaj examples (that, arohana/avarohana, chalan)||Sarod||See Music of the Peoples of the World, p. 257, graphics 13.2, 13.3||David Trasoff||1:00|
|4||North India||Raga Desh alap||Sitar, tambura||See Music of the Peoples of the World, p. 256 and Graphic 13.1||Rais Khan||9:00|
|5||North India||Example of Raga Desh on Basri||Basri, tabla, tambura||Gat section with tabla in Jhaptal tala
See Music of the Peoples of the World, p. 256 and Graphic 13.1
|6||North India||Example of short alap for Raga Darbari||Sitar, tambura||Vilayat Khan||2:01|
|2||North India||Examples of tala and theka:
|Tabla||See Music of the Peoples of the World, p. 260-261||Nawal Kishore Singh||4:37|
|3||North India||Example of Dhamar Tala||Pakavaj||5:24|
II. North Indian Classical Music
|7||North India||Hazrat Turkaman||Voice, sarangi, tabla, tambura||A khyal in raga Darbari, tala Ektal. Translation of lyrics:
Hazrat Turkaman, most revered Master with deepest respect
I consecrate myself to you ever and again
My true Spritual Teacher, my Pir
O "Blazing Sun of the Most Exalted Ones"
Take away all suffering and poverty,
Let your radiance illuminate the two worlds.
|Pandit Pran Nath, voice
Mohammed Ahmed Bane, sarangi
Prem Waleb, tabla
|8||India||Raga Khamaj (beginning)||Sarod, tabla, tampura||See Music of the Peoples of the World, p. 262-266||Ustad Ali Akbar Khan, sarod; Pandit Mahapurush Misra, tabla (AMMP Records)||4:35|
|9||India||Raga Khamaj (conclusion)||Sarod, tabla, tampura||See Music of the Peoples of the World, p. 262-266||Ustad Ali Akbar Khan, sarod; Pandit Mahapurush Misra, tabla (AMMP Records)||5:53|
III. South Indian Classical Music
|12||South India||Excerpt from Raga Shadvidha Margini||Vina, mrdangam, tambura||Tala rupaka (2+4)||S. Balachander, vina
R. Ramesh, mrdangam
|13||South India||Ninnadanela by Tyagaraja (excerpt)||Voice, violin, mrdangam, kanjira (tambourine), tambura||See Music of the Peoples of the World, p. 269-272||Vidwan Ramnad Krishnan, voice
V. Thyagarajan, violin; T. Ranganathan, mrdangam; V. Nagarajan, kanjira (Nonesuch records)
IV. Folk and Popular Music
|14||Pakistan||Nat Sharif||Voices, 2 tanpura (= Indian tambura), 2 dholak (small drums), tabla, and two harmoniums||A Qawali song from the Sufi tradition in praise of the
Prophet Mohammed. The text is by the poet Manawar Badayuni and is in the
Distances shrink and proximities stretch to horizons;
Only those whom the Prophet desires find fulfillment,
Though Mohammed is not God, he is not apart from God;
Such is the cosmic personality of Mohammed.
Millions lose their way in the wildernesses of life;
Only the fortunate few, he clasps to his bosom.
The proud and the wealthy are turned away,
But destitutes like me cling to the door.
The meaning of Munawar's quest is:
That he would gladly give his life for a glimpse of the Prophet's face.
See Music of the Peoples of the World, p. 267 and fig. 13.4
|Haji Ghulam Farid Sabri and his family||6:01|
|15||Bengal||Excerpt from Chor Poreche Babur Bagane [A thief fell upon the master's garden]||The singer accompanies herself with a dotara and ankle bells, while other musicians play khamak, ektara, harmonium, and finger cymbals.||A song by a Baul ensemble.
See Music of the Peoples of the World, p. 272-273, figure 13.6
|16||India||"Dil Cheez Kya Hai" ["What is a Heart?"] by Khayyam (excerpt)||Film song||See Music of the Peoples of the World, p. 274-278||Asha Bhosle, singer||4:48|
|17||United States||Oregon -- Excerpt from Violin||Jazz ensemble||A group improvisation by this fusion jazz ensemble.
See Music of the Peoples of the World, p. 159-160
|Paul MacCandless (woodwinds), Glen Moore (bass, piano), Ralph Towner (guitar, trumpet), Collin Walcott (tabla, sitar) with guest artist Zbigniew Seifert (violin).||3:30|
|1||China||Examples of Guqin Playing Techniques||Guqin||See Music of the Peoples of the World, p. 294, fig. 14.2||Tsar Teh-yun||3:13|
|2||China||Kao shan liu shui [High Mountains and Flowing Water]||Zheng||Associated with the Zhijiang school. It has become a
favorite piece for all zheng players since the 1920s.
See Music of the Peoples of the World, p. 289, 290 top
|3||China||Shi mian mai fu [Ambush from Ten Sides]||Pipa||A programmatic piece depicting a historical battle between
the King of Chu and the founder of the Han Dynasty that occurred sometime
in the period 206-203 BCE. The first section depicts the military of Chu
and the second the ambush of his army by the Han army.
See Music of the Peoples of the World, p. 289, 290 second from top
|4||China||Excerpt from Yang-kuan san tieh [Three repetitions at Yang-kuan]||Xun (ancient globular clay ocarina)||A folksong from the Shensi region of North China, a setting
of a famous ch'i-chueh, a poetic form of 28 characters, by Wang
Here in Wei-ch'eng
the morning rain
wets down the light dust and
turns afresh the green, green willows in the inn.
Bottoms up, once again, please.
Westward beyond Yang-kuan
there will be
See Music of the Peoples of the World, p. 291 second from top
|5||China||Excerpt from Lao sen saqo tien [Old Monk Sweeping the Buddhist Temple]||Sheng||A fourteenth-century folksong from the Shantung region
of northern China.
See Music of the Peoples of the World, p. 292 top, 293
|6||China||Excerpt from Beyond the Great Wall||Sanxian, dizi||An arrangement by Li Yi of an ancient folksong. It tells
of the lament of the concubine of a Han Dynasty emperor and her longing
for her homeland.
See Music of the Peoples of the World, p. 291 second from top
|Xu Feng Xia and Du Chong||0:51|
|7||China||Ping sha lo yen [Wild Geese Descending onto the Sandbank]||Guqin||See Music of the Peoples of the World, p. 294-296||Li Xianting, guqin (Ode Record Company)||6:22|
|8||China||Fan Instead of Gong||Sizhu chamber music.
||See Music of the Peoples of the World, p. 297-298||Shanghai Traditional Music Society: Zhou Hui, yangqin; Zhou Hao, erhu; Tu Bing-rong, pipa; Shen Ji-sun, ruan; Shen yi-xin, xiao; Dai Shu-hong, xiao||6:57|
|9||China||"An Island in the Sea" from Gui Fei Zui Jiu [The Drunken Concubine]||Jingxi orchestra||See Music of the Peoples of the World, p. 182-187||Mei Lanfang with Xiao Changhua and Jiang Miaoxiang.||4:59|
|10||China||A Stroll in New Town||Chinese orchestra and zhuihu||A work for modern orchestra of mostly traditional instruments
featuring a solo on zhuihu (similar to the erhu). This is an adaptation
of a Tibetan folksong about a father and daughter conversing as they ride
See Music of the Peoples of the World, p. 302-305
|Zeng He-Yun and the Chinese Orchestra of the Shanghai Music Conservatory||2:32|
|1||Japan||Daiwa gaku by Jin Nyodo (1891-1966)||Shakuhachi||See Music of the Peoples of the World, p. 309-310, 321-323||Bill Shozan Schultz||3:08|
|2||Japan||Excerpt from Ise-Dai Kagura [Grand Festival of Ise]||Kagura ensemble: taiko drums, fue (flutes), others||A lion dance at a folk festival, or kagura, from the
Masuda Shrine of Kuwana, annually performed on December 24.
See Music of the Peoples of the World, p. 311-312
|3||Japan||Example of Shomyo (Buddhist chant)||Chorus, woodblock||This is a recording of a rite known as Shuni-e
or Hana-e Shiki. The performance begins with the hitting of an iron
or copper gong with a bone mallet. The monks then recite the names of the
Boddhisattvas, the holy men who have retained human form even after reaching
nirvana, so that they may enlighten others. The leader of the chant is
called the doshi.
See Music of the Peoples of the World, p. 312-313
|Monks at Yakushi-ji Temple in Nara||0:58|
|4||Japan||Japanese scales (ryo, ritsu, yo, in, ryukyu) and demonstrations of shakuhachi ornamentation and playing techniques||Shakuhachi||See Music of the Peoples of the World, p. 313-314 and Graphic 15.1||Bill Shozan Schultz||4:45|
|5||Japan||Etenraku, Nokorigaku Sanben||Gagaku orchestra||See Music of the Peoples of the World, p. 314-320||Imperial Court Ensemble of Tokyo (Legacy International Records)||9:45|
|6||Japan||Yatsuhashi Kengyo (1614-1685): Rokudan no shirabe [Study in Six Sections]||Koto||See Music of the Peoples of the World, p. 324-326||Nakanoshima Kin'ichi (JVC International records)||7:44|
|7||Japan||Azuma Jishi [The Lion Dance of Jishi]||A san-kyoku ensemble consisting of shamisen, koto, and shakuhachi||A late eighteenth-century piece for classical ensemble. The shakuhachi quotes a version of Rokudan (track 6) when it first enters. See Music of the Peoples of the World, p. 320-321, fig. 15.5||Members of the Ensemble Nipponia||3:37|
|8||Japan||Excerpt from Deha||Noh ensemble||Noh drama. See Music of the Peoples of the World, p. 324, 327-328||2:30|
|9||Japan||Excerpt from Mitsu men komori [The Three Masks of Komori]||Kabuki orchestras, voices||A kabuki drama composed in 1829. In this scene a young nanny attempts to amuse a small child by dancing with three masks. See Music of the Peoples of the World, p. 329-331||2:32|
|1||Central Java||Examples of some Javanese gamelan instruments: Saron, Kenong, Ketuk, Kempul, Gong||See Music of the Peoples of the World, p. 340-342||0:42|
|2||Central Java||Pangkur||Javanese gamelan||Ladrang slendro manyura. See Music of the Peoples of the World, p. 347-352||Ensemble Karawitan Raras Raos Irama, gamelan Kyai Sekar Tunjung, pesinden Mugini.||15:31|
|3-7||Central Java||Individual instrument parts to Pangkur[track 2]: 3. Gender barung, 4. Rebab, 5. Gambang, 6. Kendang, 7. Bonang Barung||In these examples, a master Javanese musician plays each of five prominent instruments from Ladrang Pangkur (track 6). In some tracks he is accompanied by slentem playing the balungan (main melody) in the background to provide orientation. See Music of the Peoples of the World, p. 347-348, 352||Trustho||1:11
|8||Central Java||Excerpt from Pangkur (pelog)||Javanese gamelan||Ladrang pelog barang.||2:55|
|9||Central Java||Excerpt from Srimpi Sangapati||Javanese gamelan||Ketuk 2 kerep pelog barang. This is a highly refined, courtly dance for four women representing stories from Islamic epics in highly symbolic movements. The entire performance in this version lasts just over an hour.||Royal gamelan of the court at Surakarta||3:59|
|10||Central Java||Excerpt from Danaraja||Gadon||Ketuk 4 arang minggah ketuk 8, slendro sanga. Performed by gadon, a chamber group featuring only the elaborating instruments of the full gamelan: rebab, suling, and gender barung.||Sarasehan Krawitan Surakarta, directed by Saptana.||4:22|
|11||Bali||Gending Pengalang Bebarongan||Gamelan gong kebyar||See Music of the Peoples of the World, p. 360-362||Gamelan Punia Bhakti directed by I Nyoman Wenten||5:28|
|12||Bali||Balinese Gamelan examples: detuning, pokok (core melody), polos (interlocking part 1), sangsih (interlocking part 2), kotekan (interlocking parts together), kotekan with pokok||See Music of the Peoples of the World, p. 359||0:59|
|13||Bali||Purana -- Hujan Mas [Golden Rain]||Gamelan gong kebyar||This is a gamelan gong kebyar composition from the 1960s that typifies the genre.||6:26|
|14||Bali||Excerpt from Baris||Gamelan semar pegulingan||The classic warrior dance of Bali. This gamelan is a
gamelan semar pegulingan, an ancient and now uncommon 7-tone gamelan, though
Baris is more commonly played on the usual gamelan gong kebyar.
See Music of the Peoples of the World, p. 357-358
|Gamelan "Tirta Sari" of Peliatan, Bali||3:35|
|15||Bali||Sekar Sungsang||Gender wayang||A performance of gender wayang, the quartet of slendro-tuned
metallophones that traditionally accompany the wayang shadow puppet play
See Music of the Peoples of the World, p. 33, fig. 5.2
|16||Bali||Kecak excerpt||Chorus||A performance of kecak, also known as cak or "monkey
chant," the famous interlocking chant of Bali in which voices imitate the
instruments of the gamelan. This piece accompanies a dance representing
a particular scene from the Ramayana.
See Music of the Peoples of the World, p. 358
|Kecak chorus of Peliatan.||4:44|
|17||Bali||Gending Sekar Gadung||Gamelan selunding||A performance on the gamelan selunding -- a rare and
ensemble made up entirely of iron metallophones, not the bronze
instruments found in common gamelan.
See Music of the Peoples of the World, p. 11 fig. 2.4
|Gamelan selunding ensemble of Tenganan village, directed by I Nyoman P. Gunawan.||7:54|
III. American Gamelan
|18||United States||Lou Harrison -- Threnody for Carlos Chávez (1979)||Gamelan degung (from West Java)||The American composer Lou Harrison has written a large
amount of music for gamelan, but deriving as much from his experience as
a composer in the American experimental tradition as from traditional Javanese
theory. His pieces often incorporate Western instruments into gamelan.
This piece is a threnody, or lament, on the death of the Mexican composer
Carlos Chávez featuring solo viola.
See Music of the Peoples of the World, p. 364
|Gamelan Sekar Kembar, Susan Bates, viola.||7:05|
Updated on January 22, 2012