Wednesday, 15 December 2010
Saturday, 11 December 2010
Shangaan Electro, Limpopo
New Wave Dance Music From South Africa
HONEST JON'S RECORDS
www.honestjons.com
My name is Richard, my stage name is Nozinja, from Nozinja Music Productions. I'm from Giyani in Limpopo.
I'm an engineer, I'm a producer, I'm a composer. It's my record label. I'm the marketing manager. I transport them — I've got a micro-bus. I do everything on my own. I've got manufacturing. I buy CDs, I will silk-screen myself. I sing, too.
I'm a scout for talent. When you look at the person, you must see the artist. He or she must be able to dance. If you can dance, you can sell. Shangaan dancers, they dance, they can go on for almost an hour with that speed, without getting tired. When you see them dance you feel like they have got no bones. It's similar to the Zulus, but faster and we put a lot of style inside. There's disco in there, we use Pantsula moves.
We don't use the sounds of the hip-hop guys, or the afro-pop, or whatever, we're using Shangaan sounds. The traditional Shangaan music is fast. You play it slow, they won't dance.
Firstly it was played with bass and lead guitar. I'm the one revolutionized it, because when I came I didn't use any guitar or any bass, I just used marimba and the organs. We are not using the live bass, we are using the marimba bass which is played from the organ. A small sample of voices, that's what I specialize in. We use them in English. Those are the new aspects they never had before. At first people thought I was mad, and now it's the in-thing. You can play that music with bass, that's the old-timer music.
Shangaan is fast. While others play at 110, we are at 180, 182, 183. And when you hear those marimba beats and that live guitar through the keyboard, you know it's Shangaan. You hear those toms, then you know, this is Shangaan music.
Shangaans don't typically love Joburg. They work in Joburg, but their heart is in Limpopo. People want to go back to the country and to their families. Limpopo is rural. It's hot, very hot and vibey. Shangaan music is about love. It's about a wife and a husband. We are family-oriented musicians.
Now Shangaan music is both, rural and urban. We jumped the boundaries by changing that bass into playing with the marimba, that's when we touched the nerves, and now it's all over.
(To Wills Glasspiegel, January 2010.)
HONEST JON'S RECORDS
www.honestjons.com
My name is Richard, my stage name is Nozinja, from Nozinja Music Productions. I'm from Giyani in Limpopo.
I'm an engineer, I'm a producer, I'm a composer. It's my record label. I'm the marketing manager. I transport them — I've got a micro-bus. I do everything on my own. I've got manufacturing. I buy CDs, I will silk-screen myself. I sing, too.
I'm a scout for talent. When you look at the person, you must see the artist. He or she must be able to dance. If you can dance, you can sell. Shangaan dancers, they dance, they can go on for almost an hour with that speed, without getting tired. When you see them dance you feel like they have got no bones. It's similar to the Zulus, but faster and we put a lot of style inside. There's disco in there, we use Pantsula moves.
We don't use the sounds of the hip-hop guys, or the afro-pop, or whatever, we're using Shangaan sounds. The traditional Shangaan music is fast. You play it slow, they won't dance.
Firstly it was played with bass and lead guitar. I'm the one revolutionized it, because when I came I didn't use any guitar or any bass, I just used marimba and the organs. We are not using the live bass, we are using the marimba bass which is played from the organ. A small sample of voices, that's what I specialize in. We use them in English. Those are the new aspects they never had before. At first people thought I was mad, and now it's the in-thing. You can play that music with bass, that's the old-timer music.
Shangaan is fast. While others play at 110, we are at 180, 182, 183. And when you hear those marimba beats and that live guitar through the keyboard, you know it's Shangaan. You hear those toms, then you know, this is Shangaan music.
Shangaans don't typically love Joburg. They work in Joburg, but their heart is in Limpopo. People want to go back to the country and to their families. Limpopo is rural. It's hot, very hot and vibey. Shangaan music is about love. It's about a wife and a husband. We are family-oriented musicians.
Now Shangaan music is both, rural and urban. We jumped the boundaries by changing that bass into playing with the marimba, that's when we touched the nerves, and now it's all over.
(To Wills Glasspiegel, January 2010.)
Thursday, 2 December 2010
Чукотско-русский тематический словарь 
Словарь предназначен для учащихся 5—9 классов чукотских школ. Основная часть книги состоит из разделов, каждый из которых включает лексику на определённую тему, например, олень, оленеводство; яранга, жилище; родство; времена года; погода, небо, звёзды; моря, реки, озёра; орудие и снаряжение морского охотника.
Во второй части книги (в приложении) дан краткий словарь слов и словосочетаний, наиболее употребительных в школьной практике. Затем следуют темы: счёт (количественные, порядковые и разделительные числительные), глаголы, знание которых поможет учащимся правильно употреблять их при составлении рассказов, при переводе текстов на чукотский язык.
Завершает книгу список серединных основ глагола, необходимый при пользовании данным словарем, а также чукотско-русским и русско-чукотским словарём П. И. Инэнликэя.
Словарь составлен на основе чукотско-русского словаря Т. А. Молл, П. И. Инэнликэя, работы Г. А. Тэгрэт «Традиционная лексика оленных и береговых чукчей Провиденского района».
В книгу включена в основном исконно чукотская лексика.
Словарь будет полезен школьникам при написании изложений, сочинений, выполнении других заданий. Словарь может быть полезен учителям и преподавателям, а также всем интересующимся чукотским языком.
http://rapidshare.com/files/246234811/Chukchi-Russian.rar
Password: uztranslations
Во второй части книги (в приложении) дан краткий словарь слов и словосочетаний, наиболее употребительных в школьной практике. Затем следуют темы: счёт (количественные, порядковые и разделительные числительные), глаголы, знание которых поможет учащимся правильно употреблять их при составлении рассказов, при переводе текстов на чукотский язык.
Завершает книгу список серединных основ глагола, необходимый при пользовании данным словарем, а также чукотско-русским и русско-чукотским словарём П. И. Инэнликэя.
Словарь составлен на основе чукотско-русского словаря Т. А. Молл, П. И. Инэнликэя, работы Г. А. Тэгрэт «Традиционная лексика оленных и береговых чукчей Провиденского района».
В книгу включена в основном исконно чукотская лексика.
Словарь будет полезен школьникам при написании изложений, сочинений, выполнении других заданий. Словарь может быть полезен учителям и преподавателям, а также всем интересующимся чукотским языком.
http://rapidshare.com/files/246234811/Chukchi-Russian.rar
Password: uztranslations
Юкагирско-русский словарь 
Словарь содержит около 11 тыс. лексических единиц языка тундренных (нижеколымских) юкагиров. Каждая лексическая единица и ее значения иллюстрируются примерами, дающими представление об особенностях материальной и духовной культуры юкагиров. Приводятся сведения о юкагирах и их языках.
Для учащихся, студентов, преподавателей юкагирского языка, а также ученых-палеоазиатоведов, исследователей финно-угорских и самодийских народов - филологов, историков и этнографов.
http://rapidshare.com/files/361338985/Yukagir.rar
Для учащихся, студентов, преподавателей юкагирского языка, а также ученых-палеоазиатоведов, исследователей финно-угорских и самодийских народов - филологов, историков и этнографов.
http://rapidshare.com/files/361338985/Yukagir.rar
Koryak-Russian Dictionary 
В словарь вошли наиболее употребительные слова хозяйственного, бытового, культурно-политического значения. При отборе лексики составители учли изданную на корякском языке учебную и художественную литературу, а также «Нымыланско-русский» (корякско-русский) словарь Г. М. Корсакова, русско-корякские словари к книгам для чтения С. Н. Стебницкого (1939) и А. И. Яйлеткана (1960).
http://depositfiles.com/files/lgc1qu6kq
Password: uztranslations
http://depositfiles.com/files/lgc1qu6kq
Password: uztranslations
Wednesday, 1 December 2010
Huun Huur Tu 2010.
Orphic music
Masters of Tuvan throat singing Huun Huurt Tu with the sounds of Siberian taiga at the Sayan Ring Festival in Russia, 2010. This is what we call "orphic music".
Khalife Mirzâ Âghe Ghowsi 
Qaderi Sufi order, with followers in Iran, Iraq, Turkey, Afghanistan, Pakistan and India, knows itself as based on mystical doctrines of Sheykh Abdolqader Gilani. However, according to history the famous Hanbali jurist of the 6th century after Hegira, himself did not found an order, and left it to his followers to enter such an endeavor. Qaderiye Order became known only as late as 9th century after Hegira, and is amongst few dervish orders, whose music ceremonies even nowadays, after issuing the permission by Khalife, are accompanied by miracles and wonders.
The order divides itself into two main branches known as Talebani, and Kasnazani. Their ceremonies are usually held on Fridays. Apart from this day, some beatific days in the calendar such as ‘eyd-e azha, the Prophet’s Birthday, the day of Prophet’s Ascension (known as mi’raj), occasions their ceremonies. Dervishes’ presence in front of their audience does not ruin the authenticity and quality of their performances; they are not bothered when witnessed by ordinary people. They even install loudspeakers outside their khaneqahs, in different neighborhoods, to communicate with other people through their music ceremonies.
Each Qaderi zekr is composed of two distinct sections: zekr-e tahlil and zekr-e qiyam. The former (known also as zekr-e neshaste) begins with avaz in free meter, something more like a speech-song. The words sung in this section are salavat, and eulogies to mystics and saints. Afterwards, it comes the turn of metric numbers, occasionally comprising nearly the whole part of section. Each number includes a short theme in few measures, on words of Persian or Kurdish classical poetry, and accompanied by daf. More sophisticated pieces have the same quality as that of a highly developed tasnif. This section with its irresistible rhythmic patterns played by daf ensemble, could be regarded as an authentic Sama’ ceremony. Ney is the only melodic instrument used in Sama’, but it is not ubiquitously found in qaderi music festivals. On the opposite, daf is the most esteemed instrument and its presence a conditio sine qua non. Daf elevates the players and listeners alike to a state of rapture. And is regarded as a holy instrument with a rich symbolism; e.g. the number of its chain loops (namely 101) is the number of attributes of the Supreme Being.
Zekr-e qiyam (or zekr-e tawhid) comes immediately after zekr-e tahlil. All performers stand up and sing to the rhythms of daf and tabl. Sometimes, on the ostinato rhythm in the background, few or more dervishes begin to sing separately, creating a unique combination of sound and poetry. At this moment and after some transient fluctuations, the rhythm usually speeds up, and duple meter turns into triple meter. The participants whirl around and respond with their audibly loud breathings to zekrs. Gradually all are transported, and at this very moment each person begins to sing his own zekr without any concern about being concordant to others. The rhythms again begin to accelerate and 1-2 minutes before reaching the end, daf players stop playing and a very fast zekr is sung.
The whole lot that could extend from 45 minutes to more than 2 hours, is terminated with zekr “Allah Allah Allah Hey!” and a requiem for the dead.
The pieces 1, 3, 5, 9, 13 are song before daf playing of zekr-e tahlil, the pieces 6, 7, 8, 11, 12 are performed with daf accompaniment at zekr-e tahlil, and pieces 2, 4, 10 belong to zekr-e qiyam.
Part 1
Part 2
Part 3
Part 4
The order divides itself into two main branches known as Talebani, and Kasnazani. Their ceremonies are usually held on Fridays. Apart from this day, some beatific days in the calendar such as ‘eyd-e azha, the Prophet’s Birthday, the day of Prophet’s Ascension (known as mi’raj), occasions their ceremonies. Dervishes’ presence in front of their audience does not ruin the authenticity and quality of their performances; they are not bothered when witnessed by ordinary people. They even install loudspeakers outside their khaneqahs, in different neighborhoods, to communicate with other people through their music ceremonies.
Each Qaderi zekr is composed of two distinct sections: zekr-e tahlil and zekr-e qiyam. The former (known also as zekr-e neshaste) begins with avaz in free meter, something more like a speech-song. The words sung in this section are salavat, and eulogies to mystics and saints. Afterwards, it comes the turn of metric numbers, occasionally comprising nearly the whole part of section. Each number includes a short theme in few measures, on words of Persian or Kurdish classical poetry, and accompanied by daf. More sophisticated pieces have the same quality as that of a highly developed tasnif. This section with its irresistible rhythmic patterns played by daf ensemble, could be regarded as an authentic Sama’ ceremony. Ney is the only melodic instrument used in Sama’, but it is not ubiquitously found in qaderi music festivals. On the opposite, daf is the most esteemed instrument and its presence a conditio sine qua non. Daf elevates the players and listeners alike to a state of rapture. And is regarded as a holy instrument with a rich symbolism; e.g. the number of its chain loops (namely 101) is the number of attributes of the Supreme Being.
Zekr-e qiyam (or zekr-e tawhid) comes immediately after zekr-e tahlil. All performers stand up and sing to the rhythms of daf and tabl. Sometimes, on the ostinato rhythm in the background, few or more dervishes begin to sing separately, creating a unique combination of sound and poetry. At this moment and after some transient fluctuations, the rhythm usually speeds up, and duple meter turns into triple meter. The participants whirl around and respond with their audibly loud breathings to zekrs. Gradually all are transported, and at this very moment each person begins to sing his own zekr without any concern about being concordant to others. The rhythms again begin to accelerate and 1-2 minutes before reaching the end, daf players stop playing and a very fast zekr is sung.
The whole lot that could extend from 45 minutes to more than 2 hours, is terminated with zekr “Allah Allah Allah Hey!” and a requiem for the dead.
The pieces 1, 3, 5, 9, 13 are song before daf playing of zekr-e tahlil, the pieces 6, 7, 8, 11, 12 are performed with daf accompaniment at zekr-e tahlil, and pieces 2, 4, 10 belong to zekr-e qiyam.
Part 1
Part 2
Part 3
Part 4
Ансамбл "Ялла" Уч қудуқ - Три колодца 
Лучший диск легендарной узбекской группы Ялла, изданный в 82-м фирмой "Мелодия". Три колодца - песня на века!
Треклист:
Три колодца (Ф. Закиров - Ю. Энтин)
Солнце (Э. Салихов - Ю. Энтин)
Нет красивей (Ф. Закиров - Махтумкули , русский текст О. Шенгели)
Это любовь (А. Рыбников - Р. Тагор , русский текст А. Адалиса)
Песенка Насреддина (Музыка народная - С. Тилла)
Ялла (Ф. Закиров - А. Пулат)
Беспечная красавица (Ф. Закиров - А. Арипов , русский текст О. Дмитриева , Ю.Энтина)
Позвола меня дорога (Ф. Закиров - А. Арипов , русский текст А. Преловского)
http://rapidshare.com/files/137874916/81Tri_kol.rar
Password: batzbatz.com
Треклист:
Три колодца (Ф. Закиров - Ю. Энтин)
Солнце (Э. Салихов - Ю. Энтин)
Нет красивей (Ф. Закиров - Махтумкули , русский текст О. Шенгели)
Это любовь (А. Рыбников - Р. Тагор , русский текст А. Адалиса)
Песенка Насреддина (Музыка народная - С. Тилла)
Ялла (Ф. Закиров - А. Пулат)
Беспечная красавица (Ф. Закиров - А. Арипов , русский текст О. Дмитриева , Ю.Энтина)
Позвола меня дорога (Ф. Закиров - А. Арипов , русский текст А. Преловского)
http://rapidshare.com/files/137874916/81Tri_kol.rar
Password: batzbatz.com
Subscribe to:
Posts (Atom)