• http://www.science-television.com/upload/media/567_instinct-de-la-musique-l-_1014.jpg


    Genre : Documentaire

    Durée : 101 min

    Année : 2009

    Réalisé par : Elena Mannes

    Ecrit par : Elena Mannes

    Produit par : Mannes Productions Inc., wnet.org

    Par http://videos.arte.tv

    Quiconque a été bouleversé par une mélodie de Bach, ému par un choeur d'enfants ou électrisé par un rythme rock connaît ce pouvoir primaire de la musique, cette faculté qu'elle a de nous
    "toucher". Comment cet assemblage de sons, cet océan de vibrations peut-il avoir autant d'effets sur l'organisme humain ? Prenant pour guides le musicien Bobby McFerrin et le neuroscientifique
    Daniel Levitin, Elena Mannes part en quête de l'essence de la musique. Une extraordinaire aventure scientifique et musicale qui nous entraîne des laboratoires aux salles de concert, des unités de
    soins utilisant la musique comme thérapie aux villages camerounais où se perpétuent des pratiques ancestrales.

    (France, 2009, 101mn)

    ARTE F

    Production : 2008, Etats-Unis

    Langue originale : Anglais

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  • http://ekladata.com/siiCygQfdXFa6Qlp_qryOl1mrrQ.jpg



    Origine du Groupe : Egypt

    Style : World Music , Arabic Music

    Sortie : 1990

    By James Rotondi from http://www.amazon.com

    Unique among Middle Eastern artists, El Din is a Nubian oud player and singer from the Sudan who studied his craft in Cairo, and fashioned the oud--normally used for accompaniment or in
    ensembles--into a solo instrument, combining Nubian and Arabic musical gestures. Eclipse--produced by Grateful Dead drummer and world-music champion Mickey Hart--exploits elastic rhythms and
    repetitive motifs in moody, majestic pieces like "Helalisa," the lovelorn song of an Egyptian field hand, and "Your Love Is Ever Young," inspired by Egypt's late queen of song, Um Kalthoum. Fans
    of Turkish oud masters (like the great Udi Hrant) will find El Din's penetrating tone and attack familiar, though his arrangements and vocal accompaniments are a different beast altogether,
    producing an evocative, melancholy music that draws on several traditions simultaneously.

    From the Label

    Hamza El Din, pioneering oud master from Sudan, performs mesmerizing music based on traditional Arabic forms.

    As the Moors swept across the northern stretches of the African continent, they left in their wake a rich legacy of music, myths, and legends. Performing brilliantly on the oud (the Arab
    precursor of the lute) and on the tar (the ancient single-skinned frame drum of the upper Nile), interwoven with his hypnotic voice, he has singlehandedly created a new music, essentially a
    Nubian/Arabic fusion in line with both traditions and informed by Western conservatory training. This album includes an original composition,"The Visitors," which he composed in Baghdad in 1965,
    in Iraqi Arabic with Egyptian melody and Sudanese pentatonic.

    Other tracks feature his arrangements of traditional songs celebrating a first wedding ("Ollin Arageed"); sending a river-pulley worker's greetings to his beloved via a pelican ("Helalisa"); and
    paying tribute to the incomparable Egyptian songstress Um Kalthoum (1902-1975). "Mwashah" is a classical piece from the time of the Moors in Spain, traditionally used to train voices.

    Tracklist :

    1.Helalisa (Nubian Sons)

    2.The Visitors

    3.Ollin Arageed

    4.Your Love Is Ever Young



  • http://www.murataydemir.com


    Origine du Groupe : Turkey , Germany
    Style : World Music Arabic
    Sortie : 2006

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    <\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>

    The Mystery of Nevâ:
    Sound, like a ship passing through the mysterious, is a bridge between the ocean unfathomable and the world in which we live. Since time immemorial, every lover of music who journeys on the musical sea has crossed this bridge. For us, Nevâ serves as our bridge to that mystical, veiled ocean. Nevâ has always been a keystone of our music – never failing to reveal new doors, horizons, and worlds to all who pass through. Nevâ offers a strong foundation, not just when presented as a sound or tone, but also as a mode, harmony and melody. To honor this, we open this recording with Nevâ Pesrevi by Tanburî Cemil Bey who has been a flame inspiring all tanbur players since his time. We also wished to name the final album Nevâ. In this recording, we tried to carry the torch of Nevâ, handed down through the ages from musician to musician, as far as our power, heart and love would allow us to, bowing only to musical concerns. We did our best not to compromise this pure style that has been flowing throughout history.

    We present Nevâ to the listener, asking for forgiveness for our mistakes, if you should hear any. We'd like to express our gratitude: first of all to our teachers who made it possible for us to collaborate; to Cengiz Onural who opened the doors of not only his studio, but also his heart, and who catalyzed our creation of this work; to Hüseyin Tuncel who played the rhythm section during the recordings and was always by our side in spirit; and to Kaf Music Company. Every breath taken, every plectrum moved to bring about this humble creation is dedicated to its reason forbeing.

    With thanks --
    the musicians,
    Murat Aydemir (tanbur) and Salih Bilgin (ney).

    By Jazzmen

    Tracklist :
    01. Nevâ Peşrevi / Tanbûrî Cemil Bey  3'50"
    02. Müşterek Taksim  4'40"
    03. Uşşak Sazsemâîsi / Neyzen Aziz Dede  3'25"
    04. Fihrist Taksim (Rast Ailesi)  10'11"
    05. Pençgâh Peşrevi / Kantemiroğlu  3'50"
    06. Ferahfezâ Peşrevi / Tanbûrî Cemil Bey  3'18"
    07. Müşterek Taksim ve Sultânîyegâh Sazsemâîsi / Nedim Ağa  8'45"
    08. Şehnâz Peşrevi / Kemânî Ali Ağa -- 4'30"
    09. Müşterek Taksim  5'00"
    10. Hicaz Sazsemâîsi / Veli Dede  3'50"


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  • http://www.nonesuch.com/sites/nonesuch/files/imagecache/section-albums-coverart/albums/coverart/explorer-caribbean-bahamas-the-real_0.jpg

    Note :


    Origine du Groupe : V.A Bahamas

    Style : World Music

    Sortie : 2003 (1965)

    Most of the major Bahama Islands lie no further than 200 miles off the Florida coast. The United States has had generally a greater influence on the history and development of this British colony
    than did the Spanish-speaking Caribbean islands to its south and east. This is also true for most of the music of the Bahamas; certainly it is true in the case of the music presented in this
    album—the religious vocal music of “rhyming spirituals” and anthems.

    The songs and the style heard here are the result of alternate periods of contact with and isolation from the United States mainland. The Bahama colony was established at about the same time as
    the Carolina colony: around 1670. Africans from many tribes—Ibos, Ijos, Yorubas, Mandingoes, Ashantis—were imported as slaves to both places, as well as to other British settlements in the New
    World. Whereas tribal identity quickly vanished in the mainland colonies, one’s awareness of a particular African heritage remained intact to a great extent in many of the European-colonized
    islands. This was so in the Bahamas, where the surrounding waters provided temporary insulation against outside influences; there is still an awareness of tribal distinction in some parts of the
    Bahamas. During the Revolution in the mainland colonies, a group of Loyalists left the Carolinas with their many slaves and settled on Abaco Cays in the Bahamas, where a number of freed slaves
    also had come to live. A vital new music had been developing in the Carolinas, as well as throughout the whole of the Southern plantation area. This music was now brought to the Bahamas, where a
    similar development may have been taking place. Here, the very old songs were preserved (and are in fact still sung), and a distinctly Bahamian style of singing developed simultaneously with the
    further development of the American Negro spiritual.

    Emancipation came to the Bahamas in 1838; escaped slaves from the southern American states sought refuge in the free islands, particularly Andros, largest of the Bahamas. Until the end of the
    Civil War, there was a steady inflow of African-Americans to Andros and, with them, their songs. Isolation and poverty insured the preservation of these songs, so that Bahamian music today
    reflects many of the developments in mainland music that occurred over a very long period. We can hear in the older music of the Bahamas something that may be close to the very early plantation
    slave music.

    The “rhyming spiritual” is the distinctive Bahamian type of religious song. “Rhyming” simply means intoning couplets against a melodic background of voices. (“Rhyme” here means “verse”—not
    necessarily coinciding final syllables.) The rhymer—the lead singer—sings a memorized or improvised rhythmic narrative part that continues to build in intensity while the other singers repeat a
    chorus behind him—that is, they sing the song. The rhyming style reached its greatest heights during the sponge fishing in the 1930s.

    A West African tradition of singing sermons has been carried on, and further developed, in the New World. We can hear it in church services conducted by preachers who bring their congregations to
    heights of religious fervor by the gradual transition during the sermon from speech to song—song of tremendous intensity and power. Rhyming seems to be the combination of the traditions of
    singing sermons and African drum and bell rhythms. The rhythmic patterns in rhyming are also found in West African music. While there is still some drumming in the Bahamas, it had been forbidden
    in the mainland colonies and had to go underground. The intricate handclapping that developed in the Carolina and Georgia Sea Islands may be a compensation for lost bells and drums. In the
    Bahamas, where there is little handclapping, the singing sermon became the means for utilizing this and other rhythms. Other features of African music, such as the call-and-response vocal
    pattern, also found their way into Bahamian song.

    JODY STECHER, 1966


    Tracklist :

    01. We Will Understand It Better By and By 3:54

    02. Sheep Know When Thy Shepherd Calling 2:08

    03. I Told You People Judgment Coming 0:53

    04. Don’t Take Everybody to Be Your Friend 2:18

    05. Sailboat Malarkey 2:18

    06. Up in the Heaven Shouting 1:33

    07. Won’t That Be a Happy Time 2:24

    08. Out on the Rolling Sea 3:12

    09. I Am So Glad 1:40

    10. Come for Your Dinner 1:28

    11. God Locked the Lion’s Jaw 4:01

    12. Great Dream from Heaven 2:39

    13. My Lord Help Me to Pray 1:42

    14. Numberless As the Sands on the Seashore 4:15

    15. I Ain’t Got Long 1:21

    16. I Bid You Goodnight 2:48

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  • Voili voilou les petits loups !
    Les compils de fin d'année arrivent !
    50 morceaux de Reggae music roots pour vous :

    01 - Love Joys - Are you ready
    02 - African Brothers - Youths of today
    03 - Ken Boothe and Tu Shung Peng- Show me that love
    04 - Calypso Rose - Calypso blues
    05 - The Black Seeds - Take your changes
    06 - Duke Morgan - Lick It Back
    07 - Fouta - SOS
    08 - Resistencia Suburbana + IVA - Represion brava
    09 - Edi Fitzroy - Cry for my brothers
    10 - Wayne Wade - Fire fire
    11 - Yvette & Levi - Brother David
    12 - Daweh Congo - Blue Moon
    13 - The Heptones- 1e  world
    14 - Ponto De Equilibrio - Ponto de equilibrio
    15 - Fil Rouge - Ils Sont Tous Fous
    16 - Junior Dread - Sufferer's heights
    17 - Groundation - Dragons War
    18 - Bim Sherman - My Whole World
    19 - Keith Hudson - Fight your revolution
    20 - Mo'Kalamity - Reggae Vibration
    21 - Bim Sherman -  Fit to survive
    22 - Carroll Thompson - Merry go round
    23 - Freddie McKay Lonely Man
    24 - Audley Rollens - Be wise
    25 - Trinity - Three Piece Suit
    26 - Stephen Chang - Always Together
    27 - Horace Hinds - BlackMan Country
    28 - Hemsley Morris - Little Things
    29 - Jo Jo Bennet & Byron Lee - Rock Steady
    30 - Noel Brown - Heartbreak Girl
    31 - Junior Soul - Out Of My Mind
    32 - Zoe - Liberia (Feat. Chuck Fender)
    33 - The Black Seeds - The answer
    34 - Tahuna Breaks - Empower Me
    35 - Prince Lincoln & The Royal Rasses - Babylon is falling
    36 - Lloyd Lovindeer - A tale of two couples
    37 - Little Tempo - Our time is now (right now) (on the kete rock)
    38 - God God Dammit Dammit - Entrè
    39 - Tiken Jah Fakoly & Dub Incorporation - Diversité
    40 - Aura Meets Lee Perry - Can't See You
    41 - Miikey Ras Starr - Market place revolution
    42 - Rebellion the Recaller - Like A Lion Feat. Chuck Fenda
    43 - Natiruts -  Iluminar
    44 - Echo Ranks - Shinobi warrior
    45 - Bawajafar'n'free - Arrétez De Croire Ci
    46 - The Ethiopians - Free
    47 - Pupajim - Television Addict
    48 - Sizzla - Hard ground
    49 - Michael Prophet - Conscious Man
    50 - Winston McAnuff - Ras Child


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