Various - Authentic Folk Music And Dances Of The World album flac
Performer: VariousTitle: Authentic Folk Music And Dances Of The World
Style: Folk, African, Rebetiko
Released: 1960
MP3 album: 1862 mb
FLAC album: 1183 mb
Rating: 4.5
Other formats: RA MPC WAV MOD MP2 DMF AIFF
Genre: Folk and Country
The Anthology of American Folk Music is a six-album compilation released in 1952 by Folkways Records (catalogue FP 251, FP 252, and FP 253), comprising eighty-four American folk, blues and country music recordings that were originally issued from 1927 to 1932. Experimental film maker Harry Smith compiled the music from his personal collection of 78 rpm records. The album is famous due to its role as a touchstone for the American folk music revival in the 1950s and 1960s
A folk dance is developed by people that reflect the life of the people of a certain country or region. Not all ethnic dances are folk dances. For example, ritual dances or dances of ritual origin are not considered to be folk dances. Ritual dances are usually called "Religious dances" because of their purpose. In this sense, nearly all folk dances are ethnic ones
Various World Music(CD Album)Deep Orient Vol. 2 Musiques de Nuit -VG. Deep Orient Vol. 2 Musiques de Nuit. Artist:Various Artists. All of our paper waste is recycled within the UK and turned into corrugated cardboard. Your item will be previously owned but still in great condition. The disc will play perfectly without interruption and the case, inlay notes and sleeve may show limited signs of wear.
Russian traditional music specifically deals with the folk music traditions of the ethnic Russian people. It does not include the various forms of art music, which in Russia often contains folk melodies and folk elements or music of other ethnic groups living in Russia. The performance and promulgation of ethnic music in Russia has a long tradition
Folk, World, & Country. Two Kalamatianos Dances Of Epirus α) χειμαριωτικο β) η μελαχrοινέ. B4. Two Ttsamikos Dances Of Roumeli α) Στα Σάλωνα Σφάζουν Αρνιά β) καττó Στου Βάλτου Τα Χωριά. B5. Pidichtos Dance Of The Islands Ηορέψετε, Ηορέψετε.
The southern Italian folk songs on this album probably sound fairly similar to those of the 13th century, when troubadours entertained the King of Naples and Sicily. The songs and instrumental numbers include love songs, dances, a lullaby, and one intended to drive away evil spirits. Liner notes feature photographs of traditional scenes and descriptions of each tune as well as lyrics, as sung and translated into English.
Origins of Folk Dancing. Cultural dances came into being with a social function, weaving recreation into celebrations and important agricultural events. While many groups perform folk dances onstage today, the genesis of folk dancing right up through the middle of the 20th century was non-performative for the most part. Due to the isolated nature of the world's regions up until the last century, many different forms of folk dancing evolved in different regions of the world. Folk dancing from India looks very different from folk dancing from Mexico, but it is all under the umbrella term of folk dancing because it is social in nature and it is steeped in tradition instead of a culture of innovation. Latin American Folk Dance. In various regions of Persia different styles formed, such as the Kurdish line dances and the Qashqai scarf dances.
Church music and folk music have been related at various times. Some church music derives from the application of religious texts to secular folk tunes. This practice may be seen, for example, in the hymns of the Protestant Reformation and in the revival hymns of 19th-century American camp meetings, which were called folk hymns because of their origins and associations with folklike groups. A very significant way in which folk music is preserved is through its association with folk dance. Certain musical forms are characteristic of the folk dance music of various parts of Europe. Most prominent is a form type with paired lines, the second a variation of the first (. AA′BB′ and so on). From the 1980s on, it would seem that practices of folk dancing in urban and student society have been responsible for the very preservation of folk music.
Russian folk songs and dances were formed in two cycles: one of them is associated with calendar rites (sowing, harvest, et., while the other has to do with family rituals (wedding, birth, burial, et. More individual are lyrical songs. Instrumental music was of much less importance than vocal music: obviously, as a result of the orthodox prohibition to use music instruments in church. Instruments are mainly used by shepherds or as accompaniment for some dances and songs. Volga's lyrics are based on outstanding material - these are genuine authentic texts of pagan Rus enclosing unique historic stratum of the nation.
Tracklist
| A1 | Aih-Adir Ka Adonai |
| A2 | Yesh Challil Ne-Elam |
| A3 | Ha-Na-Ava Ba-Ba-Not |
| A4 | Yalail, Yalail |
| A5(a) | Shemu Shochnai Ohalim |
| A5(b) | Pashtu Kvasim |
| A6 | Henai Akallaila |
| A7 | Mul Ha-Ohel Kol Halail |
| A8 | Kismai-Agam |
| A9 | Ozi Vezirmrat-Ya |
| B1 | Alla Feria Di Lanciana |
| B2 | Saltarello |
| B3 | Stornelli |
| B4 | Plessat Po'Roeachin |
| B5 | Villanella |
| B6 | Donna, Donna |
| B7 | Tralaleri |
| B8 | Ballo Tondo |
| B9 | Ballo Tondo |
| C1 | Sevillianos |
| C2 | Reduerdo A Sevilla |
| C3 | Seguidillas Gitanos 'el Pili' |
| C4 | Alegria Del Alonso |
| C5 | De Triana |
| D1 | It Was A Lover And His Lass |
| D2 | Come Phyillis |
| D3 | Sweet Nymph |
| D4 | Oh, Sweet Flower |
| D5 | On A Time Amorous Silvy |
| D6 | Fine Knacks For Ladies |
| D7 | Will Saide To His Mammy |
| D8 | Thrice Toss These Oaken Ashes |
| D9 | And It Is Night |
| D10 | The Angler's Song |
| E1 | Wondrous Love |
| E2 | The Devil's Questions |
| E3 | The Man In The Kraut Tub |
| E4 | The Swapping Song |
| E5 | The Hickory Toothpick |
| E6 | The Riddle Song |
| F1 | The Lark In The Morning |
| F2 | The Cobbler |
| F3 | Jig |
| F4 | Rockin' The Cradle |
| F5 | Sean Dun Na Ngall |
| F6 | Whisky You're The Devil |
| F7 | Dowdling |
| F8 | Hornpipe |
| F9 | Roisin Dubh |
| F10 | The Whistling Thief |
| F11 | In The Month Of January |
| G1 | I'm A Young Bonnie Lassie |
| G2 | Never Wed An Old Man |
| G3 | He Widn'a Want His Gruel |
| G4 | My Rovin' Eye |
| G5 | Jock MacGraw |
| G6 | Bagpipe Tunes |
| G7 | My Son David |
| G8 | Johnny O'Braidesless |
| G9 | MacPherson's Lament |
| H1(a) | Solang Der Alto Peter |
| H1(b) | Grosse Gaudi In Munchen Hobrauhaus |
| H1(c) | Hopfen Und Malz |
| H2(a) | In Munchen Steht Ein Hofbrauhaus |
| H2(b) | Durst Wird Durch Bier Erst Schon |
| H3 | O Alte Burchsenherrlichkeit |
| H4 | Tausend Fasser Bier |
| H5 | Dien Schonsten Uberstunden |
| H6(a) | 'S War Immer So |
| H7(b) | Humba-Humba-Tatara |
| I1 | Invocation, Entrance And Dance For The Glaou |
| I2 | Duet For Flutes |
| I3 | Solo For Musical Bow |
| I4 | Xylophones Solo |
| I5 | Male Chorus And Harp |
| I6 | Dance Of The Witch Doctor |
| J1 | Dances And Songs |
| J2 | Popular Dances |
| J3 | The Peloponnese |
| K1 | Margaton Va-t-a L'iau |
| K2 | A La Claire Fontaine |
| K3 | Les Triollets |
| K4 | Au Clair De La Lune |
| K5 | Aubade Charmeuse |
| K6 | Aupres De Ma Blonde |
| K7 | Avec Un Peu De Chance |
| K8 | Marianne S'en Va-t-au Moulin |
| L1 | A Raga Suite To Sri Guri |
| L2 | Raga For Tabla |
| L3 | Kathakali |
| L4 | Bharata Natayam |
| L5 | Gujarat |
| L6 | Improvisations For Tabla And Vamsa |
| M1 | Ciocarlia - The Skylark |
| M2 | Hora Martisorului (March Hora) |
| M3 | Calush Dance |
| M4 | Ion Vidu-Lugojana |
| M5 | Storm Hora |
| M6 | Alunelul Dance |
| M7 | Hora From Pitesti |
| N1 | Samara Town |
| N2 | Aliona |
| N3 | Between Steep Banks |
| N4 | The Drake Went Courting |
| N5 | The Pear Tree |
| N6 | Singing In The Choir |
| N7 | Down The Volga River |
Credits
- Engineer – Pete Helffrich
Notes
Countries of Origin:Record 1 (Side A) - Israel
Record 1 (Side B) - Italy (collected by Alan Lomax)
Record 2 (Side C) - Spain
Record 2 (Side D) - England (Norman Notley and David Brynley)
Record 3 (Side E) - United States Of Ameria (told by Richard Chase, sung by Jean Ritchie and Paul Clayton)
Record 3 (Side F) - Ireland (collected by Diane Hamilton)
Record 4 (Side G) - Scotland (collected by Alan Lomax)
Record 4 (Side H) - Germany (Beer Garden songs)
Record 5 (Side I) - Africa (Baoule tribe)
Record 5 (Side J) - Greece (Royal Festival Company of Greece)
Record 6 (Side K) - France
Record 6 (Side L) - India (Southern India Darpana Company of dancers and musicians)
Record 7 (Side M) - Rumania (Rumanian Folk Music Orchestra and chorus)
Record 7 (Side N) - Russia (Russian Folk Music Chorus and orchestra)
Barcode and Other Identifiers
- Matrix / Runout (Side A, hand-etched): TR 1002 A-1 Pete Helffrich
- Matrix / Runout (Side B, hand-etched): TR 1030 B-1 Pete Helffirch
- Matrix / Runout (Side C, hand-etched): SBDR 3131 B Pete Helffrich ARC18-22-75
- Matrix / Runout (Side D, hand-etched): TR 1012 A-1 ARC511212 Pete Helffrich
- Matrix / Runout (Side E, hand-etched): TR 1011 B-1 ARC3-2-0 Pete Helffrich
- Matrix / Runout (Side F, hand-etched): TR 1004 A-1 Pete Helffrich
- Matrix / Runout (Side G, hand-etched (Note: DBH is contained in square box)): TLP 1047A 133 DBH II
- Matrix / Runout (Side H, hand-etched): TR 2076A Pete Helffrich
- Matrix / Runout (Side I, hand-etched): SDBR 3254B Rec.2 ARC10-17-24 Pete Helffrich
- Matrix / Runout (Side J, hand-etched): SD 3311 5B Pete Helffrich ARC8-31-73
- Matrix / Runout (Side K, hand-etched): SD 3311 6A Pete Helffrich ARC 8-20-70
- Matrix / Runout (Side L, hand-etched): SDBR 3317A Pete Helffrich XA
- Matrix / Runout (Side M, hand-etched): SD 3311 7A-1 Pete Helffrich
- Matrix / Runout (Side N, hand-etched): SD 3311 7B Pete Helffrich ARC10-22-75 XA









