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

http://www.hamzaeldin.com

http://fr.wikipedia.org/wiki/Hamza_El_Din

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

5.Mwashah

http://www.murataydemir.com

http://www.salihbilgin.com

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

Note :

http://www.nonesuch.com/albums/the-bahamas-the-real-bahamas-in-music-and-song

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

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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