• Folk, Tribal and Traditional music of RUSSIA, Georgia, Belarus, Ukraine, Moldova,…

    25 Jun 2010, 01:56 by epi_gee

    Come join us for a week of listening :

    The WEEK of June 26th-July 2nd - European Folk, Tribal and Traditional music week. This one will focus only on the following countries: RUSSIA, Georgia, Belarus, Ukraine, Moldova, Latvia, Lithuania, Estonia and the old Soviet Empire.

    I'm looking for FOLK/Neo-Folk/Traditional/TRIBAL music suggestions from the following countries :
    the Former Soviet Union

    thank you in advace for your help. :)



    6 Aug 2009, 23:07 by epi_gee

    I was thinking of creating a group for this ..but this will work better. I won't have to manage a ton of groups.

    What is it? Come up with good, or funny names for bands that don't yet exsist. Look it up before you post it just to make sure it has not already been taken, then drop it into the comment box. One Band name per comment... if you want to add in the music genres you think the name best coincides with, go for it.

    bands coming by might find it usefull if they can't think of a good name for thier band, otherwise, i am sure many of them will be entertaining.

  • European Folk and Tribal music...highlighting Gregorian, Flamenco and Chanson…

    17 May 2010, 16:09 by epi_gee

    this thread is for Traditional, Tribal and Folk music of mainland Europe ONLY. ... excluding UK, Ireland and Iceland. Also excluding the Balkans and Middle East regions.

    The WEEK of May 15th-21st 2010 = Traditional Folk and Tribal Music of mainland Europe & Scandanavia, Including: (these countries only) Portugal, Spain, France, Germany, Czech Republic, Poland, Hungary, Belgium, Luxemburg, Denmark, Finland, Norway, Sweden, Switzerland, Denmark, Netherlands, Italy, Austria. (other countries will be featured at later times)

    Post recomemndations and links here !


    this weeks featured artists and sub-genres:

    Édith Piaf
    Zap Mama

    Shaï No Shaï

    16 Dec 2009, 10:47 by viaartiskonsort

    Pavana con su glosa
    Cabezón’s famous pavanne that probably isn’t a pavanne and maybe not even by Cabezón.

    This catchy dance piece with variations originates from a music book published in 1577 by the Spanish organist Luis Venegas de Henestrosa. The piece is attributed to “Antonio”, and this, sort of insider information, has been interpreted by music researchers throughout the years as a reference to the contemporary Spanish organist Antonio de Cabezón. To what degree this is true has already been discussed a lot of times, but it’s probable that Antonio de Cabezón had a greater name than Henestrosa himself at that time, not least in those circles where the potential buyers of the music book were to be found.
    “Antonio” may therefore have worked as a musical teaser for the publication.
    Read the whole story

    Album notes for El Arte de Tañer (parla09001)
  • Salinas, de Encina and me - Spanish renaissance recording

    9 Oct 2009, 14:25 by viaartiskonsort

    The dull sound from the belfry scarcely reaches the interior of the Cathedral. The strokes sound rather unreal.
    I notice that this time just one stroke was heard, consequently there’s just half an hour left before the guardian will return and let me out into the noisy real world of Salamanca.
    What am I doing here, alone in the old romance cathedral? Or almost alone. The earthly remains of several great Spanish musicians lie buried here underneath the stone floor where I’m sitting; Francisco Salinas, Juan del Encina and several others I do not know the names of.

    Read the full story: http://www.viaartis.info/lang/en/archives/750
  • [My Gang] Griselda Sanderson - Irime (Ice Warrior) : Reco of the Week 17 Mar 09

    17 Mar 2009, 23:59 by Babs_05

    Track: Irime (Ice Warrior) (full track)
    Artist: Griselda Sanderson
    Album: Harpaphonics (Jan 2009)
    Tags: , , , , ,
    Video: Click the pic...

    I'd love it if Griselda Sanderson were this year's Basquiat Strings, the Mercury Award nominated mix of classical strings, jazz and world via Transylvania. Gris Sanderson's Harpaphonics is equally as innovative and possibly goes one better with the introduction of the nyckelharpa.


    Here's a nyckelharpa (click to see larger pic):

    The modern chromatic nyckelharpa has 16 strings: 3 melody strings, one drone string, and 12 sympathetic vibration (or resonance) strings. It has about 37 wooden keys arranged to slide under the strings. Each key has a tangent that reaches up and stops (frets) a string to make a particular note. The player uses a short bow with the right hand, and pushes on the keys with the left. It has a 3 octave range (from the same low "G" as a fiddle's 4th string) and sounds something like a fiddle, only with lots more resonance. Earlier forms of the nyckelharpa had fewer keys, fewer (or no) sympathetic strings, and fewer melody strings, but often made more use of drone strings.

    The Sunday Times said, "With its ornate curves and multiple strings and keys, the Swedish nyckelharpa makes Jimmy Page's double-necked guitar look like a ukulele."

    Listening to Gris Sanderson's Similar Artist radio, I heard Shooglenifty. I think Basquiat Strings and Shooglenifty are the closest I can call similar artists, but even they're not quite right. Gris's music is on another level. Ornate and intricate, delicate yet earthy, witty with cheeky little asides that raise a smile, the music traverses not just the world but time itself, incorporating details from the past as well as the present.

    The track I chose for this week is 'Irime', largely because there is a video available in YouTube where you can see how Gris plays the nyckelharpa. I could copy and paste entire essays describing how complex it is but it's better to see. I'll add some links at the end of this journal as usual, in case anyone wants to know more. The video features Fumiaki Tanaka (choreography) with Gris on nyckelharpa, Alex Roth on guitar, Russell Harris on zarb. Powerful Sam Yeboah of Unity Train plays the djembe and Josh Stopford is on bass guitar. The video comes free with the album, donations from physical sales of which go to Sam's Project Okurase in Ghana.

    Griselda Sanderson, Louis Derick Bingham, Sam Yeboah

    There isn't a typical track on the album. The music draws on influences from Scotland, West Africa and Transylvania, amongst others. Gorgeous Treadlightly March features sheep baaing (which just has to be the best found sound), one of my favourites is In Thunder with its emotional rain. Spring Storm has a tune by Steve Cooney which is modern but in the traditional Irish style of a slip-polka. It features Max Moya Wright (of Ojos de Brujo) on Cajon with james dumbelton on bodhran and Riaan Vosloo on bass. Erdély Reels has a Transylvanian tune. See the official site (below) for more information on both the Harpaphonics Ensemble and Gris herself.

    Early music and modern music dovetail as they do on Dead Can Dance albums. The folk elements are recognisably folk but with clever twists. Thoughtful and intelligent throughout, it is proper music to be absorbed by. It doesn't target any particular age group; I can easily imagine pieces being used in films or other media. One of my sensational albums of 2009 (new journal coming soon).

    Babs My Gang

    Reco of the Week archives

    Official Site
    What is a Nyckelharpa?
    The Nyckelharpa, Anders Rosén, September 2000
    Different types of nyckelharpa
    Wikipedia - Nyckelharpa
    YouTube: Bach on Nyckelharpa

    Admin - Stats as of today:

    Last.fm listeners of this track - 6
    No. of plays scrobbled in Last.fm - 11
    Position in Last 7 Days: n/a
    Position in Last 6 Months: 1 / 1

    Date Added: 31 January 2008
    Views: 477, Ratings: 2, Responses: 0, Comments: 1, Favorited: 3 times

    Stats after 8 days:

    Last.fm listeners of this track - 6
    No. of plays scrobbled in Last.fm - 11
    Position in Last 7 Days: n/a
    Position in Last 6 Months: 1 / 1

    Date Added: 31 January 2008
    Views: 488, Ratings: 2, Responses: 0, Comments: 1, Favorited: 3 times

    466 Unique Visitors
    520 Page Views

    Unique Visitors
    Page Views

  • A new kind of group... The Radio Room!

    13 Mar 2009, 08:34 by musinum

    I've created 14 groups at last.fm, and a dozen artist radios to go with them, some the traditional tag radios and others the newer Library Bot radios.

    I've decided to put them all together under one roof here at The Radio Room, a listening room for all the radios with descriptions and links to the associated groups.

    Come to listen and sample the sounds and feelings of the groups! Hear before you join!

    If you like the concept and would like to see it spread, please join The Radio Room!
  • "music is our soundtrack to the cinema called my Life"

    8 Dec 2008, 19:48 by rsvpnet

    How's that for a group name? I have always admired
    those with long names... so finally, I started one.

    OK, so check it out first, and see how you like the theme.
    http..."music is our soundtrack to the cinema called my Life"
    The URL address is way too long, so it's shortened to:
    http://bit.ly/mylife -- so much easier to remember.

    We would simply like to invite you to join ;-)

  • Free listening classical music in full lenght

    24 Nov 2008, 22:23 by namuel

    The label magnatune.com has a small but interesting collection of music from renaissance time, baroque, classics and very few romantic music. Really great is the possibility to listen all the albums in their entirety without paying. Only downloads have to be payed: you choose how much you want to pay for the music, and 50% of your choice goes to the artist. Apart from last.fm this is the only (legal) way I know for free listening classical music. As I prefer often to hear entire compositions instead of a music mix, I really like this alternative. What do you mean? And: Do you know other similar alternatives?
  • In chorus: Todo el mundo en general

    17 Nov 2008, 19:51 by viaartiskonsort

    Todo el mundo en general was once a very popular religious song with lyrics by the Andalusian poet Miguel Cid. The popularity it gained in its time was tremendous, in fact today we wouldn't hesitate to classify it as a "hit". But like many other popular songs throughout history, Todo el mundo had its palmy days, after which it disappeared into the darkness of oblivion. The fact that we today still have knowledge of the song, is due especially to the Spanish baroque composer Francisco Correa de Arauxo (1), who later wrote a piece for organ with variations, based on the popular melody.
    We decided to trace Todo el mundo back to it's original form as a song, while at the same time preserving Arauxo's variations. You can listen to the result here, Todo el mundo, while reading the fascinating story about el canto llano de la Inmaculada: Todo el mundo en general

    The popular music at the service of the Church
    It wasn't only in the Protestant part of Europe that the Church made use of popular music to support reforms and to advocate for religious doctrines. In beginning of the 17th century the Franciscan order in Spain worked determinedly on convincing the Holy See to raise the doctrine of "The Immaculate Conception", La Inmaculada Concepción, to the level of Catholic dogma. Those efforts included both theological discussions, political lobbyism and social and popular mobilization, and in that latter context a simple religious song by the Sevilian composer and priest Bernardo del Toro (1570-1643) composed at Christmas time 1614 came to play a mayor role.
    It is told that the composer gave a small party in relation with the traditional Christmas nativity scene and that the visitors, including the friend and poet Miguel Cid, arrived at the party with 'songs and verses'. In this festive gathering the song dedicated to the “Immaculate Virgin" arose:
    Let everyone lift up their voice
    in chorus - chosen Queen -
    that You are conceived
    without original sin
    without original sin

    Everyone - in chorus
    On January 23rd, in the year 1615, the song Todo el mundo was published as printed sheets and distributed all over the town of Seville. Already on 2nd February the same year the song was sung by the choir of the Cathedral and during the following months the melody and lyrics were taught to children as well as to adults, in schools and churches everywhere in Seville. On July 29th a large crowd marched through the streets of Seville, demanding the Holy See to recognize the teachings of "The Immaculate Conception" as a papal dogma. This public manifestation is perpetuated in a painting by the Spanish painter Juan de las Roelas (Valladolid, Museo Nacional de Escultura). In the painting one can observe that the children in the gathering crowd carry the printed sheets of the song in their hands.
    In Seville the Todo el mundo - fever culminated around Christmas time 1616. By that time the song was sung in all the churches of the town. On December 8th a grand religious feast was held in the Cathedral with several dance and music performances. At the end of the celebration all the participants fell on their knees, facing the image of the Holy Virgin, and sang as in one united voice the famous chorus that everybody in Seville now knew by heart: "Todo el mundo a general". (2)

    Variations on Todo el mundo
    In 1625 the Spanish baroque-composer Francisco Correa de Arauxo published a treatise on organ playing, in which one of the last pieces, Tres glosas sobre el canto llano de la Inmaculada, is a set of variations on the famous tune by Bernardo del Toro and Miguel Cid. The piece is remarkable in many ways. First Arauxo presents the original song in the shape of a chorus followed by a verse, with the principal voice placed in the tenor. Then the chorus is presented again, this time with the principal voice held by the soprano. Subsequently the variations rise in speed and level of difficulty. The variations run twice over the verse part while the third and last time, the quickest, over the chorus.

    Spanish baroque pulse
    Rhythmically viewed the song is composed on a basis of constant and regular alternations between duple and triple metre, that is between 6/8 and 3/4. This rhythmical principle of constant metre change had already been practiced for a long time in European popular music (Ex. the German psalm "Min største hjertens glæde" 1550, recorded by Via Artis Konsort), but in Spain this particular rhythmical mould was used at the beginning of the 17th century with an often more pronounced and even dance like character, as it can be heard in the popular Spanish genre La Jácara.

    Todo el mundo, revisited
    Arauxo's melody is very similar to the original composed by Bernardo del Toro (3), thus we decided that we would not offend against any of the composers' posthumous reputation by re-arranging the piece as a song using the original text, while at the same time keeping Arauxo's variations.
    Arauxo's variations run over the exact length of both choruses and verses, but in the 2nd variation a line is missing. In the original song (as in the 1st variation) the last line of the verse is repeated where the lyrics read “sin pecado original', but in the 2nd variation this repetition is absent. Unfortunately it's impossible to know whether the missing line is due to a mistake in the publishing process, or whether Arauxo consciously omitted the repetition of the last line, but for the sake of wholeness we decided to add the missing line - with the lack of respect for original compositions that practitioners of early music must show from time to time, just as the musicians of the baroque era themselves so fully demonstrated. The variations on the second last line in this 2nd variation consequently do not originate from Arauxo's hand.

    You can listen to the result of the reconstruction here: Todo el mundo
    First the chorus is sung, and right after that, the verse called copla.
    Then the chorus is played by the bass viol, followed by the 1st variation on the verse, played by the portative organ.
    Then follows the 2nd variation on the verse, played by the bas viol, and finally the song ends with the 3rd variation on the chorus, played by the portative organ with added vocal on the last part.

    Listen to the piece and note how Arauxo's variations elegantly play with the constant change between duple and triple metre.


    We welcome comments on this article :)

    (1) Spanish organist and composer, possibly of Portuguese descent. Organist at the Church of S. Salvador in Seville from 1599 until 1636, then at Jaén Cathedral until 1640, finally at Segovia Cathedral until his death. His Libro de tientos y discursos de música practica, y theorica de organo, intitulado Facultad organica (Alcald, 1626) contains 62 tientos and seven other pieces, all for organ, introduced by a theoretical treatise and arranged in order of increasing difficulty, in a colorful baroque style, with bold dissonances and wayward figurations.

    (2) In Spain The Feast of the Immaculate Conception still is celebrated on the 8th of December

    (3) Bernardo del Toro's song is a so-called canto llano, i.e. a song in a modal church tonality, Arauxo adds to the song an early baroque harmonization. The rhythmical alternation between two- and tripartite metre originates from the original tune by Bernardo del Toro.

    Sources: Alfonso de Vicente: Música, propaganda y reforma religiosa en los siglos XVI y XVII: cánticos para la "gente del vulgo" (1520-1620), Conservatorio Profesional de Música de Amaniel (Madrid), Studia Aurea 1 (2007)

    Internet sources: