Alain Daniélou - India II - Music Of The Dance And Theatre Of South India album flac

Matrix, Runout (Runout Side A): BM 30L 2007-1 P. Matrix, Runout (Runout Side B): BM 30L 2007-2 P. Other: DP. Other Versions (2 of 2) View All. Cat.A Musical Anthology Of The Orient: India II ‎(LP, Mono).

Unesco-Collection - A Musical Anthology Of The Orient - 7 - The Music Of India - Record II - Music of the dance and theatre of South India. lt;b Centerlabels info:

0. India II - Music Of The Dance And Theatre Of South India. 1 scrobble in 1 collection.

This collection was originally recorded by Alain Danielou for the International Music Council (UNESCO) between 1950 and 1955, and was published in 1966. As a tribute to Alain Daniélou, UNESCO re-issued the album on 1997 as Anthology of Indian Classical Music - A Tribute to Alain Daniélou. The introductory text is by Serge Moreux.

Music of, by, and for the people. Folklife Folkways Festival. The United Nations Educational, Scientific and Cultural Organization (UNESCO) launched the series in collaboration with musicologist Alain Daniélou (1907–1994) and the International Music Council (IMC). Collaboration continued more recently with the International Council for Traditional Music (ICTM). The UNESCO Collection of Traditional Music stands as one of the earliest achievements of UNESCO’s program for safeguarding and revitalizing intangible cultural heritage. UNES08078 Indonesia: Java - Music of the Theatre. UNES08041 Indonesia: Music from West Java. UNES08272 Bali: Balinese Music of Lombok.

L'Inde traditionnelle. Gods of Love and Ecstasy. The music of Tibetan Buddhism.

The World Collection of Folk Music. Anthology of World Music: The Music of Islam and Sufism in Morocco. Anthology of World Music: The Music of Laos. Anthology of World Music: The Music of Tibetan Buddhism. Anthology of World Music: The Music of Vietnam. Australia: Music from the New England Tablelands of New South Wales. Traditional Northern India Music. Liner Notes, Series Originator.

For Alain Daniélou the subtleties of the intervals of music of oral traditions cannot be expressed using the equal temperament tuning system of 12 notes per octave, which has been the prevalent system in Western culture for around two centuries. This "artificial" musical scale was developed as a compromise, to standardise musical instruments by reducing the number of notes they could play, but it also reduced the possibilities of expression for both composers and musicians