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"An Anthology of Chinese Traditional and Folk Music A Collection of Music Played on the Guqin Guqin musical heritage in a set of 8 CDs"

"(Harrington) utilized the entire ensemble in an alternately dark and rhythmic collage of styles, textures and bits and pieces from all over the world." - R.L. Ragsdale, Riverfront Times, St. Louis, Mo. Electronic music that is tonal and intensely contrapuntal, inspired by New Orleans and classical music traditions. "Harrington is the most intriguing new figure I've discovered on the Web..." Kyle Gann, Village Voice, July 7, 1999

Her schooling included music, and she became a pianist, eventually moving to Jerusalem and recording highly unique pieces that filter the traditional Ethiopian pentatonic scale through classical technique-- in the end sounding like impressionistic jazz."

for @BarbieRay @avivamagnolia @patita @Oldies http://www.facebook.com/profile.php?id=705045193 http://twitter.com/avivagabriel http://profile.to/avivagabriel/

Music from "A World Out of Time," and "A World Out of Time, Vol 2," by Henry Kaiser and David Lindley, two musicians who have been part of the pioneering efforts to develop eclectic, multicultural music of many traditions.

Arab music tradition is the urban-based music of the eastern Mediterranean region ranging from Cairo to Beirut, Damascus and Aleppo. This music consists predominantly of precomposed songs that is, pieces in which a composer has determined the form and content of the music to be performed.

Kabiosile presents live recordings of the Afro Cuban folkloric music of Santeria (also known as Lucumi or la Regla de Ocha), Cuba's most dynamic African spiritual tradition. Learn to play the bata drums with El Lenguaje del Tambor : Bata Rhythms from Matanzas, Cuba.

Characteristics The following characteristics are shared between Iranian and other Central Asian music: * The music is mainly monophonic, with each instrument in an ensemble following one melodic scheme. * The music is based upon a modal system; with each mode engendering different melodic types, called gushehs in Farsi. The execution of the melodic types are left up to the musician. * The use of microtones divides the scales into more than twelve semi-tones. * A priority is given to ornamentation. * There are a number of substantial pauses in each piece. The following are characteristics which distinguish Persian music from other Central Asian music: * Melodies are concentrated on a relatively narrow register. * Melodic movement occurs by conjunct steps. * Emphasis is on cadence, symmetry, and motivic repetition at different pitches. * Rhythmic patterns are kept simple. * The tempo is often rapid, and the ornamentation is dense. * Vocal parts are often decorated with Tahrir, a vocal ornamentation similar to yodeling. * Also, Iranian music is unique in the Middle Eastern tradition in that the different melodic phrases, or gushes are supposed to model the rhythmic stamp and melodic pattern of poetry.

Sharhabeel launched a new genre of Sudanese song, melding jazz vocals with a big band sound, and Sharhabeel and his band became Khartoum's most sought after ensemble. It was a popularity that mushroomed. His synthesiser-driven renditions of traditional songs brought further success and recognition. "It is ironic," he muses, "that in the 21st century, there is not a single recording studio in Sudan," in contrast to the exuberance & optimisim of the 1950s, after Sudan's 1956 independence from Britain. The pentatonic scale of Sudanese music contrasts sharply with the septatonic scale of Arabic music.

Amalgamation of elements of jazz tradition (especially free jazz and jazz fusion of 60s-70s) with instrumentation/concepts of avant punk rock (especially dissonant strains, no wave, grindcore, hardcore). Examples: John Zorn, Bill Frisell, Fred Frith, James Chance & the Contortions, Lounge Lizards. Roots of punk: Velvet Underground, Stooges, MC5. Roots of avant/free jazz: Albert Ayler, Archie Shepp, Roscoe Mitchell, Sonny Sharrock.

Most piyutim (sacred Jewish song poems) are chanted "a cappela." This one is accompanied by Tunisian oud music. The oud (ud) is similar to a lute. You'll hear traces of tambourines, too. And some kind of percussion; perhaps boot heels, perhaps knocking on wood...

2 melodies from Morocco and Tunisia. Ensemble Mizrach-Maarav. Bar Yochai.

This piyut (sacred musical poem), titled "Al Hechali," is Tunisian, and is chanted by Rabbi Yehuda ben Shmuel Ibn Abbas

Nigunim ~ Yedid Nefesh ~ Israel - Morocco ~ Melody: David Zehavi ~ ניגונים / פניה ברגנשטיין

A beautiful, sweet, yearning, graceful Modzitz Hassidic melody affiliated with "The Admor Shaul Yedidya of Modzitz (1887-1948)." It's simple, with just voice and steel-stringed guitar (and a baglama?)