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Various - Authentic Folk Music And Dances Of The World album flac

Various - Authentic Folk Music And Dances Of The World album flac Performer: Various
Title: 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