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"(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

"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"

Begins with the guqin (gu qin), or old qin. It's a fretless zither-like instrument with five strings, corresponding to the five elements

Ethnomusicologist Josef Bomback discusses the styles and instruments of Chinese music, contemporary, classical, folkloric, and traditional.

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.

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.

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.

- Barbat - Daf - Damâm - Do-tablé - Dohol - Dotar - Ghaychak - Kamancheh - Ney - Santur - Setar - Tanbur - Tar - Tâs - Tombak - Zarbé-Zoorkhâné

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.

Dhrupad was structured originally around the poetic and melodic- rhythmic material from the tradition of devotional music practiced in the Vaishnava temples. Its entry into a secular environment paved the way for the acceptance of appropriate changes in poetic content, and mode of presentation.

music turkish turkey sufi tekbilek rumi erguner folkloric traditional classical halk klassik muzigi turkiye baglama kemence zurna davul darbuka saz ney