World music: describing sonic characteristics and cultural contexts

¶ … Music

Slow Hora/Freylekhs

The Klezmer Conservatory Band (Klezmer)Dancing in the Aisles

"Slow Hora/Freylekhs" is a traditional Klezmer song performed by the Klezmer Conservatory Band. The song represents the style and instrumentation of Eastern European Jewish music, and includes the strong representation of woodwinds. The instrumentation may include clarinet, oboe, and bassoon with the percussive punctuation added by bass instruments. Actual percussive elements are present but kept to a subtle minimum to allow the woodwinds to carry most of the song; the melodic lead is carried by the highest-pitched woodwind, which may be a clarinet.

26.E Baiana

Clara Nunes (Brazil)

Meus Momentos: Clara Nunes

Clara Nunes performs the quintessential samba in "E Baiana." Here, African beats and African vocals blend with some European instrumentation including the guitar on top. The song is very danceable and shows how African music influenced Brazilian music. "E Baiana" is also highly percussive and includes the shakers and syncopated clapping at the end of the song as well as the pervasive and persistent drumming that make the hips move. Also the background vocals and notably African in nature.

27.Malaguena Salerosa

4:13

Rodrigo, Remedio Flores (Spain)

Flamenco Caravan

This Flamenco song starts as many other Flamenco songs do with acoustic solo guitar, which is characteristically intricate and complex. The odd vocalization punctuates the guitar solo. The melody changes, ranging between somber and mellow to perky. The guitarist also accomplishes his own percussion. However, the quintessentially Flamenco foot-tapping is integral to the song. The vocals come in relatively late. The vocalist is a male with a very chiseled voice. This sounds like a love song.

28.Ishar

5:05

Fairuz (Lebenon)

Beirut

Pop

This Lebanese song starts off with some interesting organ sounds, and reminds me of something from an Eastern European wedding. The vocals are very sultry, and the singer draws out each word, enunciating the Arabic very clearly. There are some background vocals, as well as accordion or an accordion-like instrument. Although I don't like the vocals, this song is captivating and mysterious.

29.Hristiankova Kopanitsa

3:29

Ivo Papasov & His Orchestra (former Yugoslavia)

Balkanology

30.Rind De Hore

8:16

Taraf de Haidouks (Roumania)

Latcho Drom

The traditional music of the Roma people is well-represented here in "Rind De Hore" by the Romanian group Taraf de Haidouks. The song was featured in the film about gypsies (Roma) people called Latcho Drom. Instrumentation includes flute, violin, and some kind of bass. The song is fast-paced, uplifting, and happy in tone. The flute plays role like vocals might. Although the music is not hip-shaking, it is head-bopping and finger-snapping.

31.Hari Naam Ka Pyala

5:30

Anup Jalota (India)

Aisi Laagi Lagan

This Indian music is at once accessible and mystical. It is neither Indian classical music nor Indian pop like Bangra. Instead, "Hari Naam Ka Pyala" sounds like Indian devotional or religious music for a popular audience. There is a nice low-register string instrument throughout as well as the Indian drums, which may or may not be tabla. There is also the surprising addition of an accordion-like instrument but most of the instrumentation is strings and percussion. The male vocals are sweet, devotional, and melodic. The sounds or phonemes of the language seem to blend well with the instrumentation as well as the beats. Thus, the vocals both stand alone and blend with the music as if another instrument. I enjoyed listening to this.

32.Nansi Imali

5:15

Ladysmith Black Mambazo (South Africa)

The Indestructible Beat of Soweto - Volume One

This South African song by Ladysmith Black Mambazo has wondrous vocals and vocal harmonies. Ladysmith Black Mambazo was made popular by American artist Paul Simon, who helped introduce the vibrant sounds of South Africa to the world. In Nansi Imali, we hear many voices together in unison, singing a capella. Occasionally we hear a classic call-and-response segment and the lead vocalist is distinct from the chorus. Sometimes one voice imitates a drum with sounds like krrrrrrt. No instruments are needed, because the sounds of the vocalists are full and all-encompassing.