SUBHAM: parada! http://www.youtube.com/watch?v=LbkwCV0-Qk8

ΧΑΛΚΙΑΣ Ι.-Ο ΞΕΦΤΙΛΗΣ - YouTube
http://www.youtube.com/watch?v=BlmAv5JaKkU

Neviete mi niekto poradit, co by som si mal zohnat, ak by som mal zaujem o ruske ludove piesne hrane na akordeone? Ako je napriklad Ya Igrayu na garmoshke ? http://www.youtube.com/watch?v=p_87gbmEWTM (verzia na gitare)

The Raga Guide - Survey of 74 Hindustani Ragas
Joep Bor

The Rage Guide (LQ)
http://www.scribd.com/doc/40650961/The-Rage-Guide-LQ

ukazka:
YouTube - Huun Huur Tu
http://il.youtube.com/watch?v=_Ps0lLruB5k&feature=related

Huun-Huur-Tu - Where Young Grass Grows - ISBN:0399530320 - Huun-Huur-Tu - Where Young Grass Grows.rar - Ebook download 1 - Download eBooks for Free - Anytime!
http://www.book123.net/huun-huur-tu-where-young-grass-grows_1_7503541280848201.html

Huun-Huur-Tu is making the inevitable move toward globalization that comes with worldwide touring and collaboration with foreign musicians, but so far they have managed to retain their own unique identity and remain firmly rooted in Tuvan traditional sounds. By now the novel aspects of multi-tonal throat singing do not need to be featured to help sell their work. Compared to their previous albums there is a richer harmonic (in the traditional Western sense) texture, and such Tuvan anomalies as the harp, Scottish pipes, and synthesizer make their appearance. However, they remain unobtrusively in the background (the synthesizer is used to generate a virtual wind storm), and one gets the sense that the quartet has a mature, rooted sense of where they want to go with their music. The highlight for me, though, are the excerpts of field recordings made by ethnomusicologist Ted Levin (Smithsonian Folkways's Tuva, Among The Spirits, reviewed below) of throat-singing while on horseback. The music, restored to its physical context, suddenly makes so much more sense. - John Cho

Pari Zangeneh - The Series Of Music For Young Adults

Irán, 1976



http://www.mediafire.com/?gb7xyymlnp9

With her pure & soft-edged voice, Pari is something along the lines of the Joan Baez of Tehran. She went to school for music in Iran, Italy, Germany & Austria, studying opera as well as Persian folk & classical singing. She also studied flower arranging in Japan & wrote a book on it. She lost her eyesight in a car accident in 1971, and thereafter wore Jackie Onassis sunglasses everywhere.

neni to teda primo folk, presto bych opravdu vrele doporucil

Kazakhstan - The Kobyz, the Ancient Viol of the Shamans
Kazachstán
2004
Artist: Smagul Umbetbaev/Saian Aqmolda



rapidshare

Track list:
01. Erden (Smagul Umbetbaev), 4’43”
02. Aqqu (Smagul Umbetbaev), 3’33”
03. Imanzhusuptyn eni (Smagul Umbetbaev), 4’25”
04. Qambar batyr (Smagul Umbetbaev), 4’05”
05. Syrgaqty (Smagul Umbetbaev), 1’48”
06. Kertolgau (Smagul Umbetbaev), 2’53”
07. Qazan (Smagul Umbetbaev), 4’02”
08. Kekilik (Smagul Umbetbaev), 2’38”
09. Zholdy qonyr (Smagul Umbetbaev), 2’44”
10. Zhalgyz ajaq (Smagul Umbetbaev), 2’53”
11. Abyz tolghauy (Saian Aqmolda), 3’47”
12. Ajrauqtyn aschy kui (Saian Aqmolda), 3’18”
13. Shynyrau (Saian Aqmolda), 2’41”
14. Mylnyq-Zarlyq (Saian Aqmolda), 2’28”
15. Qonyr (Saian Aqmolda), 3’08”
16. Zholaushynyn qonyr kui (Saian Aqmolda), 2’58”
17. Zhez-kiik (Saian Aqmolda), 2’33”

Personels: Francoise Grund (Artwork), Pierre Bois (Producer), Pierre Bois (Pre-Mastering), Smagul Umbetbaev (Vocals), Smagul Umbetbaev (Kobyz), Frédéric Léotar (Liner Notes), Saian Aqmolda (Kobyz), Alim K. Baïgarin (Engineer)

The term kobyz is a linguistic archetype found in varying forms among most of the Turkic-Mongol peoples to designate various types of instruments: the viol (Mongol morin-xuur, Tuvan xyl-xomus, Kazakh and Uzbek kyl-kobyz), the lute (Khakas koms/xomys, Kirghiz komuz), the Jew’s harp (Mongol aman-xuur, Tuvan, Yakut xomus, Kirghiz komuz, Kazakh shan-kobyz) and, in an older form, the drum (Altai kobuz). This generic dimension of the term kobyz reveals a conception of music that goes beyond the shape of the instrument and focuses on the practice within which it is used. We know that all of the nomadic, pastoral societies that adopted this terminology are or were shamanistic societies, and that the kobyz was the shamans’ prerogative. The kyl-kobyz (kyl meaning literally “horse hair” referring to the strings of the instrument) is, along with the lute dombra, the most highly developed instrument in Kazakh folk music.
The myth of the creation of the first Kazakh musical instrument – the viol kobyz – is linked to Korkyt Ata, the ancestor of all of the baksy (shamans). This legend, which is very widespread among the Turkic peoples, tells of the invention of music, the purpose of which was not amusement but rather overcoming death. It has survived in the Kazakh culture to this day, as has the sacred image of the kobyz.
When Korkyt was twenty years old, a spirit came to him in a dream and told him that he would not live beyond the age of 40. Korkyt then set off in search of immortality. He mounted his camel, Zhelmaia (literally “fast as the wind”), and went towards the rising sun. He saw a boy with blue eyes who was standing and digging a grave. Korkyt asked him what he was doing. The boy told him that he was digging a grave for Korkyt. Korkyt then fled towards the setting sun. A young man on his knees digging a grave was waiting for him there. He headed north and saw an adult man with blue eyes and greying hair. This man was in a grave up to his waist. Korkyt then went south and saw, in a pit, an old man with familiar blue eyes waiting for him. In the four corners of the world death was waiting for him and a grave was ready to receive him. He returned to his home on the banks of the Syr-Darya and made the first kobyz. To do this, Korkyt sacrificed his camel and tightened its skin on the new instrument. Then he put down his carpet above the river, sat down on it, and started playing music day and night. The music, heard for the first time, charmed all the living creatures that gathered to listen. Death also came, and as long as the music was playing it could not take Korkyt. One day Korkyt put down his kobyz to drink and death came and took him into the spirit world.

Muzsikas & Sebestyen Marta - A Zeneakademian
2003
Maďarsko



Tracklist:
01.Csardas Es Szoko Csavasrol 05:21
02.Marosszeki Tancdallamok 09:57
03.A Kallai Kettos 07:25
04.Kodaly Hegyi Ejszakak 03:59
05.Kyrie Moldvabol 01:00
06.Szol A Kakas Mar 03:08
07.Kodaly Zold Erdoben 02:21
08.Pe Loc 01:59
09.Invirtita 04:20
10.A Bakonyba Lakom 00:25
11.Bartok : Senkim A Vilagon 02:00
12.Edes Gergelem 05:43
13.Szep Fejer Pakular 06:01
14.Mezosegi Tancrend 13:16
15.Enek Szent Istvanhoz 00:57
16.Kodaly Enek Szent Istan Kiralyhoz 05:37

rapidshare

Born in Budapest (1957), Marta grew up surrounded with music. Her mother, a music teacher studied with the great composer, scholar and ethnomusicologist – Zoltan Kodaly. At 12 years age, she already knew that her life would be bound to music. Having a wonderful voice, she is one of the most authentic interpreters of the hungharian traditional folk music.

TAMTEN: az se vratim z tater znovu nahodim

Mohl bych prosit o repast SUBHAM: a SUBHAM: ? Díky.

Roumanie - La Vraie Tradition De Transylvanie

(Rumunsko, Transylvánie)

Label: Ocora
Catalog#: C 559070
Format: CD, Compilation, Reissue
Country: France
Released: Feb 1989



1.Various - Joc Batrinesc 2:03
Guitar [Zunghura] - Ion Covaci
Violin [Cetera 2] - Neculai Covaci
Violin [Cetera] - Gheorghe Covaci
2.Anica Filip - Cînta, Cuce, Cînd Ti-Id Duce 2:14
Vocals - Anica Filip
3.Gheorghe Tisalita - Din Zori De Zi Si Joc Bárbatesc 1:46
Flute [Tilinca] - Gheorghe Tisalita
4.Ion Mutiu - In Vîrfutu Nucului 1:59
Vocals - Ion Mutiu
5.Taraf Din Vadu Izei - Joc De Sarit 1:20
Performer - Taraf Din Vadu Izei
6.Dimitru David - Melodie Ciobanul (Nires / Cluj) 1:57
Flute [Fluier] - Dimitru David
7.Alexa Sigheartau - De Unde-i Pintea De Feli 4:47
Vocals - Alexa Sigheartau
8.Unknown Artist - Noi Mergem Dupá Mireasá 2:21
Chorus [Mixed] - Unknown Artist
9.Taraf Din Mociu - Romaneste 6:07
Double Bass [C-bas] - Cornel Bumb
Viola [Brats] - Babut Covaci
Violin [Vioare] - Alexandrin Covaci , Iovlan Covaci
10a.Sava Negrean - Báte Vint De La Oradea 1:46
Vocals - Sava Negrean
10b.Sava Negrean - Trocutro Dori Codru 0:56
Vocals - Sava Negrean
11.Various - Tropotalu Din Rosia II 1:31
Orchestra [Taraf] - Doral Codoban , Dumitru Galea , Ion Marchis , Tecdor Tîrla
Percussion [Toba] - Florean Dume
Performer [Steag Cîntá] - Emilion Popovici
12.Various - Dantu Turcii 1:28
Orchestra [Taraf] - Doral Codoban , Dumitru Galea , Ion Marchis , Tecdor Tîrla
Percussion [Toba] - Florean Dume
Vocals [Steag Cîntá] - Emilion Popovici
13.Floare Solomie - Draga Mea, Sora Mea (Vaiet) 4:43
Vocals - Floare Solomie
14.Andrei Popa & Mihai Ungur - Amortitu (Joc) 1:02
Percussion [Toba] - Mihai Ungur
Violin [Vioara Cu Goarna] - Andrei Popa
15.Marioara Mut - Nu-i Motru Ca Stiu Cînta 4:03
Vocals, Performer [Frunza] - Marioara Mut
16.Augustin Pogan - Tarina De La Gaina 1:12
Flute [Fluier Gemana] - Augustin Pogan
17.Unknown Artist - Cununa La Seceris 2:24
Chorus [Female] - Unknown Artist
18.Nicolae Nemes-Munteanu & Gheorghe Cernescu - Brîu Si Sîrba Din Cornevera 2:48
Bagpipes [Cimpoi] - Gheorghe Cernescu , Nicolae Nemes-Munteanu
19.Nicolae Nemes-Munteanu - Cîntecu Lu Baba Dochia Cînd 3:16
Bagpipes [Cimpoi] - Nicolae Nemes-Munteanu

Recorded in 1974, 1978 & 1979.
Recorded By - Herman C. Vuylsteke

megaupload

perfektni, dekuju moc, uz se to rozbalilo bez problemu a je to krasny, za Hrbace a vsehornacko budu vzdycky rad, dam zatim do kupy tez nejake sve prispevky k tematu :)