| Track | Country/Region | Title | Instrumentation | Notes | Performance recorded | Timing |
|
I. Sub-Saharan Africa |
||||||
| 1 | Ghana | Atsia Suite (Hatsiatsia and Circle Atsia [Style or Display] | Ewe drumming ensemble | See Music of the Peoples of the World, p. 58-63 | Zadonu African Music and Dance Company, Kobla Ladzekpo, director (CalArts LP 12219) | 8:29 |
| 2 | Ghana | Hatsiatsia parts from Atsia [track 1] | Atoke 1, atoke 2, gankogui 1, gankogui 2 | See Music of the Peoples of the World, p. 60 | Alfred Ladzekpo | 1:02 |
| 3 | Ghana | Circle Atsia examples | Gankogui, axatse, kaganu, kidi, sogo | See Music of the Peoples of the World, p. 60-62 | Alfred Ladzekpo | 1:18 |
| 4 | Ghana | Atsimewu signals and patterns from Circle Atsia [track 1] | Atsimewu drum | See Music of the Peoples of the World, p. 61-62 | Alfred Ladzekpo | 1:23 |
| 5 | Zimbabwe | Nyamaropa | 2 mbira dzavadzimu, hosho | See Music of the Peoples of the World, p. 66-70 | Mhuriyekwa Rwizi ensemble: Hakurotwi Mude, Cosmas Magaya, and Ephraim Mutemasango (from Nonesuch Records) | 6:30 |
| 6 | Zimbabwe | Nyamaropa examples: basic ostinato, high melody, middle melody, low melody | mbira dzavadzimu | See Music of the Peoples of the World, p. 67-68 | 0:56 | |
|
II. Middle East |
||||||
| 7 | Lebanon | Waslah in Maqam Huzam | Violin, qanun, ‘ud, riqq | See Music of the Peoples of the World, p. 93-96 | Ensemble of Classical Arab Music: Nidaa Abou Mrad (violin), Mohamad Ayache (voice and ‘ud), Maria Makhoul (qanun), and Ali Wehbè (Byblos Records) | 4:20 |
| 8 | Iran | Dastgah Mahur | Tar | See Music of the Peoples of the World, p. 98-100 | Hussein Ali Zodeh (Topic Records Ltd.) | 5:00 |
|
III. Central Asia |
||||||
| 9 | Tibet | Invocation from Mahakala Puja (excerpt) | Chorus, dung-chen (large trumpets), rol-mo (cymbals), kungling (small trumpets), and nga-chin (bass drum) | See Music of the Peoples of the World, p. 114-117 | Monks of Sherab Ling Monastery (Naxos Records) | 5:44 |
|
IV. India |
||||||
| 10 | India | Raga Khamaj (beginning) | Sarod, tabla, tampura | See Music of the Peoples of the World, p. 145-149 | Ustad Ali Akbar Khan, sarod; Pandit Mahapurush Misra, tabla (AMMP Records) | 4:35 |
| 11 | India | Raga Khamaj (conclusion) | Sarod, tabla, tampura | See Music of the Peoples of the World, p. 145-149 | Ustad Ali Akbar Khan, sarod; Pandit Mahapurush Misra, tabla (AMMP Records) | 5:53 |
| 12 | India | Raga Desh examples (that, arohana/avarohana, chalan) | Sarod | See Music of the Peoples of the World, p. 138-139 | David Trashoff | 0:57 |
| 13 | India | Raga Khamaj examples (that, arohana/avarohana, chalan) | Sarod | See Music of the Peoples of the World, p. 138-140 | David Trashoff | 1:00 |
| 14 | South India | Ninnadanela by Tyagaraja (excerpt) | Voice, violin, mrdangam, kanjira (tambourine), tambura | See Music of the Peoples of the World, p. 152-155 | Vidwan Ramnad Krishnan, voice
V. Thyagarajan, violin; T. Ranganathan, mrdangam; V. Nagarajan, kanjira (Nonesuch records) |
4:13 |
|
V. China |
||||||
| 15 | China | Ping sha lo yen [Wild Geese Descending onto the Sandbank] | Guqin | See Music of the Peoples of the World, p. 174-177 | Li Xianting, guqin (Ode Record Company) | 6:22 |
| 16 | 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. 183-187 | Mei Lanfang with Xiao Changhua and Jiang Miaoxiang. | 4:59 |
| Track | Country/Region | Title | Instrumentation | Notes | Performance recorded | Timing |
|
VI. Japan |
||||||
| 1 | Japan | Daiwa gaku by Jin Nyodo (1891-1966) | Shakuhachi | See Music of the Peoples of the World, p. 190-191 | Bill Shozan Schultz | 3:08 |
| 2 | 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. 194-196 | Bill Shozan Schultz | 4:45 |
| 3 | Japan | Etenraku, Nokorigaku Sanben | Gagaku orchestra | See Music of the Peoples of the World, p. 198-203 | Imperial Court Ensemble of Tokyo (Legacy International Records) | 9:45 |
| 4 | Japan | Yatsuhashi Kengyo (1614-1685): Rokudan no shirabe [Study in Six Sections] | Koto | See Music of the Peoples of the World, p. 207-209 | Nakanoshima Kin'ichi (JVC International records) | 7:44 |
|
VII. Indonesia |
||||||
| 5 | Central Java | Pangkur | Javanese gamelan | Ladrang slendro manyura. See Music of the Peoples of the World, p. 232-237 | Gamelan Suko Raras directed by Djarwo Saminto. | 12:08 |
| 6-10 | Central Java | Individual instrument parts to Pangkur[track 5]: 6. Gender barung, 7. Rebab, 8. Gambang, 9. Kendang, 10. 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. 232-237 | Trustho | 1:11
1:17 1:05 1:18 1:01 |
|
| 11 | Bali | Gending Pengalang Bebarongan | Gamelan gong kebyar | See Music of the Peoples of the World, p. 246-249 | 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. 245, 248 | 0:59 | ||
|
VIII. Eastern Europe |
||||||
| 13 | Hungary | Tèglaporos a kalapom [My hat is covered with brick dust] | See Music of the Peoples of the World, p. 264-266 | Mihàly Vàradi with Istvàn Balàzs, Pàl Balogh, Sàndor Kardelàs, and Ferenc Lakatos (Hungariton Records) | 2:33 | |
| 14 | Bulgaria | Dilmano, Dilbero | Chorus and folk ensemble | See Music of the Peoples of the World, p. 270-272 | Koutev National Folk Ensemble (JVC International records) | 1:37 |
|
IX. Latin America |
||||||
| 15 | Mexico | Siquisiri | Son | See Music of the Peoples of the World, p. 290, 292-294 | Los Pregoneros del Puerto (Rounder Records) | 3:28 |
| Track | Country/Region | Title | Instrumentation | Notes | Performance recorded | Timing |
|
I. Instrument examples |
||||||
| 1 | Central African Republic | Example of "talking instrument" | Pit xylophone | See Music of the Peoples of the World, p. 50 | 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. 41 fig. 6.28 |
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. 58 fig. 10.3 |
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. 54 fig. 9.3 |
0:51 | ||
| 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. 55 fig. 9.5 |
0:53 | |
| 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. 54 fig. 9.4 |
0:45 | |
| 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. 35 fig. 6.11 |
0:47 | |
| 10 | Burundi | Example of inanga (trough zither) | Inanga | 8 strings made of ox tendons. See Music of the Peoples of the World, p. 56 fig. 9.8 |
0:50 | |
|
II. Traditional Music |
||||||
| 11 | 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 | |
| 12 | Gambia/Senegal | Modi Drameh -- Serifu Sidi Haidara | 2 kora (harp-lutes) and balofon (xylophone) | Praise-song for a famous Muslim cleric whose name is
the title composed by his personal jali, or professional musician. See Music of the Peoples of the World, p. 64-65 |
Dembo Konte, Kausu Kuyateh, and Mawdo Suso. | 7:17 |
| 13 | 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 |
|
III. Popular Music |
||||||
| 14 | Nigeria | Fela Anikulapo Kuti -- No Buredi [No bread], 1976 | Afro-beat/Highlife See Music of the Peoples of the World, p. 70-71 |
Fela and The Africa 70 | 3:26 | |
| 15 | Democratic Republic of Congo (Zaire) | Kanda Bongo Man -- excerpt from Liza (1993) | Soukous | Kanda Bongo Man and band | 7:34 | |
|
IV. Fusion Art Music |
||||||
| 16 | South Africa | Kevin Volans -- White Man Sleeps, first movement (1985) | String quartet | Kronos String Quartet | 4:25 | |
| 17-18 | USA | Steve Reich -- excerpts from Drumming (1971) | Tuned drums, marimbas, voices. | Full performance lasts about an hour | Steve Reich and Musicians | 3:17
3:41 |
| Track | Country/Region | Title | Instrumentation | Notes | Performance recorded | Timing |
|
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 fig. 16.1 |
Sultan Hamid | 0:34 |
| 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 fig. 16.2 |
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 fig. 16.4A |
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 fig. 16.9 |
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 fig. 16.8 | Qenawi Bakhit Genawi and Les musiciens du Nil | 0:36 |
| 6 | Turkey | Example of a ney and frame drum (from Semai in maqam Hidjat, composed by Nayi Osman Dedl, 17th century) | Two neys and a def (frame drum) | The ney 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 fig. 16.7 and p. 86 fig. 16.10 |
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 fig. 16.11 |
0:35 | |
| II. Islamic Music | ||||||
| 8 | Egypt | Adhan | Solo chant | The Islamic call to prayer. See Music of the Peoples of the World, p. 82 |
3:02 | |
| 9 | Algeria | Qur'an recitation | Chorus chant | See Music of the Peoples of the World, p. 82 | The religious brotherhood of Al-Ateuf | 2:28 |
| 10 | Egypt | Dhikr [Remembrance] | Sufi ceremony See Music of the Peoples of the World, p. 82 |
Members of the Guneydiyah sect of the Fayoum Oasis, led by Ismail Ali Hasan and Abdel Hamid Abdel Aziz | 2:20 | |
| III. Arab/Iranian Classical Music | ||||||
| 11 | Bahrain | Taqsim in maqam hijaz | ‘Ud | See Music of the Peoples of the World, p. 89 Graphic 17.3 | Sultan Hamid | 3:30 |
| 12 | Egypt | Aamedat el Karnak [The Pillars at Karnak] | Les Musiciens du Nil | 6:07 | ||
| 13 | Turkey | Harmandali zeybek/Izmir kordon Zeybegi | Kamun (fiddle), ‘ud, clarinet, darbuka, and kanun. | Erkose Ensemble | 4:56 | |
| 14 | Egypt | Kayfa Marat [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. 92-93 and fig. 18.2 |
Umm Kulthum | 6:55 |
| IV. Jewish Music | ||||||
| 15 | Israel | Example of shofar | Shofar horns | See Music of the Peoples of the World, p. 101 Graphic 20.1 | 0:17 | |
| 16 | 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 | |
| 17 | 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
the 1920s. See Music of the Peoples of the World, p. 102 |
Klezmer Conservatory Band with Don Byron, clarinet. | 3:59 |
|
|
||||||
| 18 | Afghanistan | Gurdum Gurdum | tambur (lute), tal (small cymbals), daira (tambourine), and zerbaghali (goblet drum) | A love song from northern Afghanistan | Amir Mohammed and Baba Hakim | 3:16 |
| 19 | Nei Mongol (Inner Mongolia, China) | Excerpt from Zangar | Voice, morin huur (horsehead fiddle) | A heroic epic song, or tuul'. See Music of the Peoples of the World, p. 120-121 |
3:25 | |
| 20 | Nei Mongol (Inner Mongolia, China) | Gisgedel saidai [A Nice Gait] | Voice, morin huur (horsehead fiddle) | An urtin duu, or long song. The song praises a fine horse,
a common theme in Mongolian songs. See Music of the Peoples of the World, p. 120-121 |
2:44 | |
| 21-23 | Tuva (Russia) | Examples of Tuvan Multiphonic Singing:
1) Alash (example of sigit singing). 2) Khoomei singing. 3) Artii-Sayir (example of kargiraa singing) |
Voice | Translation of 1):
Oh, my Alash Running down from the high mountains With 30-40 tributaries Rushing swiftly, my Alash See Music of the Peoples of the World, p. 121 |
1) Mergen Mongush
2) F edor Tau 3) Vasili Chazir |
1:40
0:36 1:10 |
| Track | Country/Region | Title | Instrumentation | Notes | Performance recorded | Timing |
| 1 | India | Invocation to the Kubera | voice | Vedic chant from the Sama-veda
See Music of the Peoples of the World, p. 128 & fig. 25.2 |
2:02 | |
| 2 | North India | Examples of tala and theka:
Tintal (4+4+4+4) Ektal (2+2+2+4+2) Jhaptal (2+3+2+3) |
Tabla | See Music of the Peoples of the World, p. 142-144 and p. 134 fig. 27.9 | Ram Narayan | 1:10 |
| 3 | North India | Example of Dhamar Tala | Pakavaj | 5:24 | ||
| 4 | North India | Raga Desh alap | Sitar, tambura | See Music of the Peoples of the World, p. 138 and p. 132 fig. 27.1 | 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. 133 fig. 27.6 |
3:48 | |
| 6 | North India | Example of short alap for Raga Darbari | Sitar, tambura | Vilayat Khan | 2:01 | |
| 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. See Music of the Peoples of the World, p. 151 and 132 fig. 27.4 |
Pandit Pran Nath, voice
Mohammed Ahmed Bane, sarangi Prem Waleb, tabla |
4:44 |
| 8 | South India | Excerpt from Raga Shadvidha Margini | Vina, mrdangam, tambura | Tala rupaka (2+4) See Music of the Peoples of the World, p. 132 fig. 27.3 |
S. Balachander, vina
R. Ramesh, mrdangam |
3:12 |
| 9 | 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
Urdu language:
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. 150 and fig. 31.1 |
Haji Ghulam Farid Sabri and his family | 6:01 |
| 10 | 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. 153, 156 |
3:16 | |
| 11 | 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. 157-58 |
Paul MacCandless (woodwinds), Glen Moore (bass, piano), Ralph Towner (guitar, trumpet), Collin Walcott (tabla, sitar) with guest artist Zbigniew Seifert (violin). | 3:30 |
| 12 | United States | Terry Riley -- Excerpt from Rainbow in Curved Air (1969) | Electric organ, dumbec (goblet drum), electronics. | An improvised performance by this "minimalist" composer using multitrack tape delays and loops. Riley studied Indian music with Pandit Pran Nath (see track 7). See Music of the Peoples of the World, p. 158. | Terry Riley | 3:28 |
| Track | Country/Region | Title | Instrumentation | Notes | Performance recorded | Timing |
| 1 | China | Examples of Guqin Playing Techniques | Guqin | See Music of the Peoples of the World, p. 174-175, fig. 36.1 | 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. 168, 170 fig. 35.1 |
Wang Wei | 5:38 |
| 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. 168-170 fig. 35.2 |
Lui Pui-yuen | 7:10 |
| 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
Wei (699-759):
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 no more old friends. See Music of the Peoples of the World, p. 171 fig. 35.6 |
Liang-Ming Yueh | 1:13 |
| 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. 172 fig. 35.9 |
Liang-Ming Yueh | 0:31 |
| 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. 171 fig. 35.6 |
Xu Feng Xia and Du Chong | 0:51 |
| 7 | China | Ping sha lo yen [Wild Geese Descending onto the Sandbank]. | Zheng, xiao | This is an arrangement of the same tune as on MPW CD #1 track 15 See Music of the Peoples of the World, p. 171 fig. 35.7 |
Liang Tsai-Ping and Wong Chen-Hwa | 3:42 |
| 8 | China | Fan Instead of Gong | Sizhu chamber music. |
See Music of the Peoples of the World, p. 178-179 | 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 | 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
through Lhasa. See Music of the Peoples of the World, p. 179 |
Zeng He-Yun and the Chinese Orchestra of the Shanghai Music Conservatory | 2:32 |
| 10 | 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. 194 |
Monks at Yakushi-ji Temple in Nara | 0:58 |
| 11 | 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, performed on December 24 annually. See Music of the Peoples of the World, p. 193-94 |
1:46 | |
| 12 | Japan | Excerpt from Shika no tone [The Far Cries of a Deer]. | 2 shakuhachi | A classical duet for two shakuhachi performed in the
style of the Kinko school. According to tradition, this piece was taught
to the founder of the school by a komuso priest in Nagasaki in the eighteenth
century. It depicts two deer calling to each other in a mountain forest
in Autumn. As such it also represents the loneliness of a person in a remote
mountain village. See Music of the Peoples of the World, p. 204, 206 |
Aoki Reibo and Yokoyama Katsuya | 4:35 |
| 13 | 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 (MPW cd#2 track 4) when it first enters. See Music of the Peoples of the World, p. 204-205, fig. 42.3 | Members of the Ensemble Nipponia | 3:37 |
| 14 | Japan | Excerpt from Deha | Noh ensemble | Noh drama. See Music of the Peoples of the World, p. 210-212 | 2:30 | |
| 15 | 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. 212-214 | 2:32 |
| Track | Country/Region | Title | Instrumentation | Notes | Performance recorded | Timing |
| 1 | Central Java | Examples of some Javanese gamelan instruments: Saron, Kenong, Ketuk, Kempul, Gong | See Music of the Peoples of the World, p. 224-226 | 0:42 | ||
| 2 | Central Java | Excerpt from Pangkur (pelog) | Javanese gamelan | Ladrang pelog barang. | 2:55 | |
| 3 | 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 |
| 4 | 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 |
| 5 | 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. 249-250 |
Gamelan Sekar Kembar, Susan Bates, viola. | 7:05 |
| 6 | Bali | Purana -- Hujan Mas [Golden Rain] | Gamelan gong kebyar | This is a gamelan gong kebyar composition from the 1960s
that typifies the genre. See Music of the Peoples of the World, p. 239-241 |
6:26 | |
| 7 | 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. | Gamelan "Tirta Sari" of Peliatan, Bali | 3:35 |
| 8 | Bali | Sekar Sungsang | Gender wayang | A performance of gender wayang, the quartet of slendro-tuned
metallophones that traditionally accompany the wayang shadow puppet play
in Bali. See Music of the Peoples of the World, p. 30, fig. 6.1 |
6:00 | |
| 9 | 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. 244-45 |
Kecak chorus of Peliatan. | 4:44 |
| 10 | Bali | Gending Sekar Gadung | Gamelan selunding | A performance on the gamelan selunding -- a rare and
very sacred ensemble made up entirely of iron metallophones, not the bronze
instruments found in common gamelan. See Music of the Peoples of the World, p. 9 fig. 2.4 |
Gamelan selunding ensemble of Tenganan village, directed by I Nyoman P. Gunawan. | 7:54 |
| Track | Country/Region | Title | Instrumentation | Notes | Performance recorded | Timing |
|
Eastern Europe |
||||||
| 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. 269 fig. 55.2 |
0:55 | |
| 2 | Bulgaria | Example of kaval | Kaval (a rim-blown notch flute held diagonally from the mouth) | This excerpt comes from a piece called
Triti Puti. See Music of the Peoples of the World, p. 269 fig. 55.1 |
1:05 | |
| 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
Lichkojo. See Music of the Peoples of the World, p. 269 fig. 55.3 |
1:16 | |
| 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
Koinali. See Music of the Peoples of the World, p. 40 fig. 6.26 |
1:07 | |
| 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. |
0:37 | |
| 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 Belorus. This example comes from "In the Woods," a folk song arranged for an ensemble of kankles and singer using modern harmonies. | 0:54 | |
| 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 | |
| 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. 261 |
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
songs. See Music of the Peoples of the World, p. 262 |
Szöllössi Erzsébet (voice), with the folk music group Maros | 3:18 |
| 10 | Hungary | Aj ke sostar mange [What is my life for?] | Singers | See Music of the Peoples of the World, p. 266 |
The Rézmüves and Balog families | 5:15 |
| 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. 268 | Bitov orchestra | 1:51 |
| 13 | 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 |
| 14 | Russia | The Drinker | Chorus | An engagement is agreed at a meeting between the fathers
of the couple, joined by other relatives (but not the couple). It is celebrated
with drinks and songs. This song is a teasing song sung to the father of
the bride. Stravinsky appropriated its text for the fourth tableau of The
Wedding (track 15). Translation of lyrics:
The drinker is Katya's father, Katya's father swapped his child For a glass of wine, For a glass of wine, For honey, for vodka, For honey, for vodka, For a pretty girl. Katya remembered Sitting at her father's, Looking out the window. Who will take me Without beer, without wine, Without beer, without wine, Without sweet honey? See Music of the Peoples of the World, p. 272-73 |
Pokrovsky Ensemble | 1:47 |
| 15 | Russia | Excerpt from Svadebka [The Wedding] (1917-21) | 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. 274-75 |
5:42 | |
|
Latin America |
||||||
| 16 | Argentina | Abel Fleury (1903-1958) -- De sobrepaso [The Mountain Pass] | Guitar | A composition for guitar in the style of the Argentinian pampas guitar tradition, specifically the milong dance rhythm. | 1:58 | |
| 17 | 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 | |
| 18 | Parguay | Llegada [Arrival] | Guaraní harp and guitar | An adaptation of a folk song in the style of a galopa dance. | 3:08 | |
| 19 | 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. 291, 295 |
Fernando Lozano cond. Orchestre Philharmonique de Mexico | 2:21 |
| 20 | Brazil | Amazônia | An Afro-Brazilian religious cult 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. 280-281 |
1:43 | ||
| 21 | Brazil | Demonstration of Samba Bateria | Samba band | See Music of the Peoples of the World, p. 297-299 | Bateria Fantástica da Portela |
4:40 |
| 22 | 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
of lyrics:
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 Umbabarauma See Music of the Peoples of the World, p. 298-299 |
Jorge Ben and band | 4:08 | |
| 23 | 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. 299 |
2:35 | |
| 24 | Brazil | Heitor Villa-Lobos (1887-1959) -- Bachianas Brasilieras #5 (1938-45) | Soprano and 8 cellos | One of a series of pieces Villa-Lobos composed to explore
Brazilian folk elements within the classicism of Johann Sebastian Bach.
This one is for soprano and eight cellos (Villa-Lobos himself being a cellist)
and evokes the style of the Brazilian modhina. See Music of the Peoples of the World, p. 299-300 |
6:47 | |
| 25 | Peru | Excerpt from Palomita torkasita | Harp | A huayno See Music of the Peoples of the World, p. 301-303 |
2:02 | |
| 26 | Bolivia | Yawar mallcu | Sikus (pan-pipes) and drum. | An indigenous folksong See Music of the Peoples of the World, p. 301-303 |
1:29 | |