HAIL THE BARD

[vaidvaprust-blog]

Çuvaş Türkleri - Чуваштар - Чуашлар - Сыуаштар - Чăвашсем

[vaidvaprust-blog]

Türkü Sözü / Lyrics: Elmaların yongası (Aslanım aman aman aman ey) Haydi sağ cebinde aynası (Aman aman aman) Aman sağ cebinde aynası (Vay vay) İki duvar arası (Aslanım aman aman aman ey) Haydi hovardalar yaylası (Aman aman aman) Aman hovardalar yaylası (Vay vay) Hop tara leyli leyli ellerine Sarılaydım o incecik bellerine (Vay vay) Elmaların incesi (Aslanım aman aman aman ey) Haydi dibindedir goncası (Aman aman aman) Aman dibidedir goncası (Vay vay) Diz dize otururken (Aslanım aman aman aman ey) Haydi çıka geldi amcası (Aman aman aman aman) Aman çıka geldi amcası (Vay vay) Hop tara leyli leyli ellerine Sarılaydım o incecik bellerine (Vay vay) Elmaların Yongası Yöre: Konya  Kaynak: Ahmet Özdemir

[vaidvaprust-blog]

[vaidvaprust-blog]

[vaidvaprust-blog]

강강술래(Ganggang sullae)

[vaidvaprust-blog]

Description: Popular singing has a highly valued place in Georgian culture. Polyphonic singing, in the Georgian language, is a secular tradition in a country whose language and culture have often been oppressed by invaders. There are three types of polyphony in Georgia: complex polyphony, which is common in Svaneti; polyphonic dialogue over a bass background, prevalent in the Kakheti region in Eastern Georgia; and contrasted polyphony with three partially improvised sung parts, characteristic of western Georgia. The Chakrulo song, which is sung at ceremonies and festivals and belongs to the first category, is distinguished by its use of metaphor and its yodel, the krimanchuli and a cockerels crow, performed by a male falsetto singer. Some of these songs are linked to the cult of the grapevine and many date back to the eighth century. The songs traditionally pervaded all areas of everyday life, ranging from work in the fields (the Naduri, which incorporates the sounds of physical effort into the music) to songs to curing of illnesses and to Christmas Carols (Alilo). Byzantine liturgical hymns also incorporated the Georgian polyphonic tradition to such an extent that they became a significant expression of it.  Having previously suffered the drawbacks of socialist cultural policies, traditional Georgian music is now threatened by rural exodus as well as by the increasing success of pop music. In many archives one finds recordings of polyphonic songs from the beginning of the twentieth century; these recordings are, however, not secure enough to guarantee the long-term preservation.

[vaidvaprust-blog]

 Khöömei is a form of singing originating in western Mongolia, in the Altai mountains. The performer imitates sounds of nature, simultaneously emitting two distinct vocal sounds: along with a continuous drone, the singer produces a melody of harmonics. Khöömei literally means pharynx, and it is believed to have been learned from birds, whose spirits are central to shamanic practices. The multitude of Khöömei techniques in Mongolia are grouped within two main styles: the ''kharkhiraa'' (deep Khöömei) and ''isgeree'' Khöömei (whistled Khöömei). In ''kharkhiraa'' the singer sings a drone in a normal voice, while emphasizing the undertone or subharmonic one octave below. In ''isgeree'' Khöömei, it is the overtones above the fundamental note of the drone that are emphasized, creating a higher-pitched whistle. In both cases, the drone is produced with very taut vocal cords, and the melody is created by modulating the size and shape of the mouth cavity, opening and closing the lips and moving the tongue. Khöömei is performed by Mongolian nomads in a variety of social occasions, from grand state ceremonies to festive household events. Khöömei is also sung during herding, and inside the yurt to lull babies to sleep. Traditionally, Khöömei is transmitted orally from bearer to learner, or via master-to-apprentice.

[hellalayers]

Visit Original Link

ill.

[zenoslime]

[marcelgomes]

Medieval Music - ‘Hardcore’ Party Mix

The most rhythmic, upbeat, party medieval music out there, put together in a mix.

[fornsed-blog]

You deserve this!   :)

[irish-ais]

Visit Original Link

Oh, the priests and the friars They approach me in dread Oh, for I love you still Oh, my life, and you’re dead

[fletchingarrows]

the best version of this song there is

[fletchingarrows]

more guitar playing, this is the goodnight loving trail (first couple of verses).

[420tears-deactivated20140601]

if you love me or sick beats or evangelion or all three then you better hit play yfm

[fiesta-jets-deactivated20170624]

rad angels thesis

[trendycamer]

Téléchargez gratuitement le 1er projet de la chanteuse camerounaise Reniss, signature du label NEW BELL MUSIC, AFRIKAN LUV en cliquant ICI. 

[mirelha]

I strongly recommend this budding Cameroonian artist. Her voice is beautiful and the mix and match of traditional beats and R ‘n B makes her work truly unique.

And because her album is available for free, legal download, you now have no excuse not to discover her music :)

Enjoy!

[mirelha]

The Mermaid’s Croon - Jean-Luc Lenoir

Buy here (such a lovely album)

[mirelha]

byzmusic

NIKODHMOS KABARNOS

SUCH a good music channel on Youtube, for those of you who are into Byzantine hymns.  Also, the soloist’s voice is gorgeous.

[mirelha]

Eluveitie - Elembivos

I really like how Eluveitie blended Folk Metal and traditional Breton music, like here with this an dro played by a bagad (marching band) in the background. It’s a pity that people don’t mention where those tunes come from. I cringe when I hear people say that Elembivos actually came from Faun. Nope. The neat part with traditional music is that it’s both free to use and interesting to modernize. I just wish that people remembered which pieces were traditional and which were original, that’s all. Eluveitie has always been clear on that. It’s up to the fans to check out the previous versions.

Personally, the first version I heard of this song was by the Breton electro band Plañtec, in the early 2000’s, but some people claim that it is older than that. I’d like to know where this tune comes from but it is probably lost in time, having been composed decades ago by an anonymous musician like so many other jewels of Breton music.