Saturday, 11 December 2010

Shangaan Electro, Limpopo

New Wave Dance Music From South Africa

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 Photobucket

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.
Password: uztranslations

Russian-Yukaghir phrasebook Photobucket
Password: uztranslations

Юкагирско-русский словарь Photobucket

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.

Koryak-Russian Dictionary Photobucket

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).
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 Photobucket

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

Ансамбл "Ялла" Уч қудуқ - Три колодца Photobucket

Лучший диск легендарной узбекской группы Ялла, изданный в 82-м фирмой "Мелодия". Три колодца - песня на века!


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)

Tuesday, 30 November 2010

Ostâd Mohammad-Hoseyn Yegâneh Photobucket

The late Maestro Mohammad-Hossein Yeganeh was born in the city of Ghoochan (in the northeastern Province of Khorasan) in 1918. He took up playing the dotar when he was only ten with his first teachers Avaz Mohammad and Khan Mohammad Bakhshi. In August 1941, he became a student of Maestro Mohammad Jozanni, the most renowned of all the dotar players of the region. Jozanni himself was a student of Ghollamhossein Zirrevagi, a great music scholar in the north region of the Province of Khorasan. Yeganeh's performance was very much influenced by this master of the art. Jozanni lived in Yeganeh's home for months where his host offered him hospitality and the guest in return taught him his treasured knowledge.

Yeganeh mastered the different Khorasani styles of playing the dotar such as Torkaman, Bakhrazi, Ghoochani, Kurdish, and local Turkish and for many years he sang Ali-Akbar Khan and Shahadat Khan. Alongside being an excellent dotar player, he was a master of singing vocals, making dotar and kamanches (the dotars that he made are among the best instruments in north Khorasan), writing poems in Farsi, Kurdish, and Turkish. His techniques were uniquely phenomenal in playing tekiehs and tazyeens; he had a strong set of fingers. Yeganeh translated some famous Turkish and Torkaman tales of the Ghoochan region into Farsi verse and performed one of them, Ebrahim Adham in the Art Festival of 1973 in Moshir Hall. It was in this very recital that the bone of one of his fingers was fractured but he did not feel the pain amidst the excitement and glory of his rhythms and continued his performance until the end of the program.

Ali Ghollamrezayi Almejooghi and his son, Mohammad Yeganeh are among the best students that he trained. This great dotar player passed away in his hometown in 1992.

The Musical Maghams of North Khorasan

Yeganeh's style of story narrating comprises two major classes: first, a description of the events of the story which have their roots in naghalli (an old Iranian custom of narrating a story to a group of people, especially telling epic tales through paintings) and shahadat-khani, and second, retelling the lyrics through singing. The role of dotar in this regard is more than merely accompaniment; it forms a certain conversation with the vocals. The music part is composed of different maghams each having a specific name. The gerayeli, tajnis, and navayi maghams are considered as the shah-maghams (the key maghams). Yeganeh labeled tajnis as harifkosh (competitor-killing) magham and navayi which has its origin in western Khorasan is one magham with several different subclassifications. Navayi is attributed to Amir-Ali Shirnavayi who lived in the 15th century.

Jovayni, Enjedameh, Gharjebayer, Sarhaddi, Zarenji, and Shahkhetayi are examples of important maghams. Gharjebayer is a Torkaman magham in which the galloping of a horse is imitated and the style of vocals is similar to Torkaman vocals with repeated instances of short cries. Sarhaddi is a vocal magham which contains four verses in locallanguages and is customary in western Khorasan.

The North Khorasan Dotar

The dotar of North Khorasan is a string instrument which is played by all the five fingers of the right hand. The sound box of dotar is pear-shaped and intact and contains two strings. The neck is relatively delicate and contains about ten to twelve octaves on it. The sound box and the plate on it are from the wood of berry trees while the neck is from the wood of apricot or walnut trees or any other strong wood.

Six Songs from the Qajâr Period Photobucket

In classical Persian music the metric song is referred to as the tasnif. Historical sourcesclearly show that vocal metric compositions were of different forms and names at least up to the end of the Safavid period (1501-1722). Safavid vocal compositions included kâr, 'amal, sowt, qowl, ghazal etc., that were differentiated from one another based on their rhytmic and formal structures. By the middle of the eighteenth century, the distinctions between vocal compositions were no longer enforced to an extent that by the end of the nineteenth century, all metric songs, except for one improvised genre (kâr 'amal), were known as tasnifs.

The performance practice of court music in the nineteenth century was mostly of two types, the music which was performed in the biruni or the men's quarter and the music which was performed in the andaruni, or the women's quarter. Professional musicians were male. They were masters of the radif and performed largely in the formal and private gathering of the court or in the house of the aristocracy. On the other hand, female musicians (who were trained to sing and dance by the chief male masters) performed exclusively for the andaruni. While male musicians drew upon the repertoire of the radif and metric compositions in their performances, female repertoire included mostly tasnifs.

The middle of the nineteenth century witnessed the rise of prominent female court composers such as Sultan Khanom, a female musician who later married to a son of Fath 'Ali Shah Qajar (r. 1798-1834), and Tâj al-Saltane, a daughter of Nâser al-Din Shah Qajar (r. 1848-1896), who composed some of the most exquisite vocal compositions of that period. Two of the tasnifs in this album were composed by the above mentioned female musicians.

This album tends to offer an elaborate formal suite, characteristic of the late Qajar court music. Each section is arranged in a compound form marked with frequent performances of non-metric gushes as well as vocal and instrumental metric compositions that is concluded with a closing instrumental piece (reng).

The tasnifs performed in this album are mostly attributed to the Qajar court. The two tasnifs of "Bota Bota" and "Az Delam Bikhabari" are reconstructed and performed in this album for the first time in recent years. The tasnifs of "Bota Bota" in the châhârgâh section and those of "Behesht-e 'Adn" and "Nadide Rokhat" were recorded originally by Reza-Qoli Noruzi, a professional tasnif singer of the late Qajar period. We performed these three tasnifs based on Reza-Qoli's recordings. The tasnif of "Az Delam Bikhabari" is performed based on the version of Hâj Âqâ Mohammad Irâni Mojarrad, which I learned that from Dr. Dariush Safvat. The tasnif of "Negârâ" is played here based on the version performed by 'Abdollah Davami and finally the tasnif of "Tâ be Zolf-e Khish" is taken from a private recording of Nurali Borumand (vocals) accompanied by Ali Asghar Bahari (kamânche).


Dastgâh-e Châhârgâh

1. Chahârmezrâb A metric instrumental piece composed by Abolhassan Saba (1903-1957) a distinguished master of Persian classical music, a setâr player and violinist.
2. Darâmad (a non-metric opening gushe)
3. Zâbol (gushe)
4. Tasnif "Negârâ" An anonymous nineteenth-century tasnif, performed here according to the version of Abdollâh Davami.
5. Zâbol (continued)
6. Hesâr (gushe)
7. Tasnif "Botâ Botâ" A tasnif composed by Sultân Khânom, a female musician in the court of Fath-'Ali Shâh Qajar who later came to be the daughter-in-law of this latter
8. Hozân (gushe)
9. Mokhâlef (gushe)
10. Mansuri (gushe)
11. Tasnif "Az Delam Bikhabari" An anonymous nineteenth-century tasnif, performed here according to the version of Hâj-Âqâ Mohammad Irâni Mojarrad, one of the major authorities of the radif.
12. Reng An instrumental piece composed by Rokn al-Din Mokhtari (1891-1971), one of the most competent composers of the late Qajar and Pahlavi period.

Âvâz-e Isfahân

13. Châhârmezrâb A metric instrumental piece composed by Abolhassan Saba.
14. Darâmad (a non-metric opening gushe)
15. Jâmedarân (gushe)
16. tasnif "Tâ be Zolf-e Khish" An anonymous nineteenth-century tasnif, performed here according to the version of Nourali Borumand.
17. Bayât-e Râje' (gushe)
18. Suz-o Godâz (gushe)
19. Tasnif "Nâdide Rokhat" A tasnif composed by Taj al-Saltane, the daughter of Nâser al-Din Shâh Qajar.
20. Owj (gushe)
21. Busalik (gushe)
22. Tasnif "Behest-e 'Adn" An anonymous nineteenth-century tasnif, performed according to the version of Reza-Qoli Noruzi, one of the most famous tasnif singers of the late Qajar period.
23. Reng A closing instrumental piece composed by Morteza Naydavud (1900-1990), a distinguished Jewish composer and tar player of the early Pahlavi period. ”

Казахский язык для всех Photobucket

Эвенкийский язык - Учебное пособие Photobucket

Эвенкийский язык

Эвенки́йский язы́к, эве́нкский язы́к (устар. тунгусский язык) — язык эвенков. Распространён в России на территории главным образом Восточной Сибири — от левобережья Енисея до о. Сахалин (35,5 тыс. чел. 2002), а также около 9 тыс. чел., в том числе солоны — на севере Китая (Внутренняя Монголия, Синьцзян-Уйгурский автономный район) и в Монголии. Наряду с эвенским и негидальским языками относится к северной группе тунгусо-маньчжурских языков.

Имеет северное, южное и восточное наречия с большим количеством говоров. По фонетическим признакам выделяются «хакающие», «секающие» и «шекающие» диалекты. Солонский диалект иногда выделяют как особый язык. В основе литературного языка — непский (с 1953 — полигусовский) говор южного наречия. В эвенкийском языке действует сложный (т. н. ступенчатый) закон качественно-количественной гармонии гласных. По грамматическому строю относится к языкам суффиксально-агглютинативного типа. Обладает развитой системой падежей, видовых и залоговых форм глагола, деепричастий. Лексика отражает следы тесных контактов с якутским и бурятским языками, есть заимствования из русского языка.

Письменность в России с 1929 на основе латинской графики, с 1937 — на основе русского алфавита; в Китае — латинский алфавит и старомонгольское письмо.

Эвенкийский язык изучается в подготовительных группах детских садов и преподаётся в качестве отдельного предмета в начальной школе, иногда как факультатив по 8-й класс. Преподаётся также в вузах в Санкт-Петербурге, Якутске, Хабаровске, Улан-Удэ и национальных педучилищах в Игарке.

Настоящий учебник эвенкийского языка предназначен в качестве учебного пособия для педагогических училищ народов Севера и учительских институтов.

Так как программа по эвенкийскому языку в учительских институтах более обширна, чем программа педучилищ, то учащиеся педагогических училищ должны усвоить не все разделы учебника, а только те, которые предусмотрены программой по эвенкийскому языку для педагогических училищ.

Учебник эвенкийского языка составлен для эвенков, владеющих своим родным языком. Однако учебник может быть использован и в тех группах педучилищ и учительских институтов, которые составлены из учащихся, не владеющих эвенкийским языком. Для облегчения пользования учебником учащимися, не знающими эвенкийского языка, в учебнике даны переводы на русский язык всех примеров, иллюстрирующих грамматические правила.


При составлении учебника авторами был учтён опыт преподавания эвенкийского языка в Ленинградском педагогическом институте им. А. И. Герцена, в Николаевском-на-Амуре педучилище народов Севера и в Ленинградском университете им. А. А. Жданова.

Password: uztranslations

Samizdat X-Ray records "on the bones"

These are the original Soviet 1950's DIY records "on the bones" > self-cut records on X-Ray films. Music contained Russian and international stars, unavailable through official sources. Among others the songs of Pyotr Leshenko, a repressed singer officially banned at that time, were heavily reproduced on such records.

Sunday, 28 November 2010

Ahmet Bahşi-Turkmen Trubadour Photobucket

Voyage en U.R.S.S. 4Photobucket

Voyage en U.R.S.S. 4 - Estonie, Lettonie, Kazakhstan - 1990


Voyage en U.R.S.S-Vol 2.Ouzbekistan, Tadjikistan.Photobucket

Size: FLAC (330 MB) - booklet (25 MB) - OGG·160Kbps (73


Booklet (25 MB)

Qaraqalpaq Xaliq ansambli "Muxalles"- 2009 Photobucket

The Karakalpaks are one of the ancient, semi - nomadic in the past, ethnos of Central Asia with the rich musical culture. Its formation was running under the influence of historical, cultural and economic activity, geographic and religious factors. Traditional musical culture of the Karakalpaks bases on the rich mythology, myth - poetic and epic traditions of the Khorezm oasis of Central Asia. In its most ancient stratum it reveales the affinity with Turkic, shamanistic, elements. At some stage of historical development, probably in the 16th century, the art consciousness of the Karakalpaks survived a significant impact of Islam and Muslim cultural values. But in case of the Karakalpak musical culture Islam doesn't take such basic positions as it has in the culture of the Uzbeks and Tajiks.

O'zbek Xalq cholg'u kuylari/Music of Uzbekistan Photobucket

Track listing

01.Abdulahad Aqi (Nay).Qalandar-1
02.Abdulahad Aqi (Nay).Yovvoyi chorgoh
03.Abduhoshim Ismoilov (G'ijjak).Ey,quyosh
04.Abduhoshim Ismoilov (G'ijjak).Ishq
05.Abduhoshim Ismoilov (G'ijjak).Munojot
06.Abduhoshim Ismoilov (G'ijjak).Qalb sadosi
07.G'ulomjon Hojiqulov (G'ijjak).Kelur
08.G'ulomjon Hojiqulov (G'ijjak).Surnay dugohi
09.Tohir Rajabiy (Rubob).Ey,sabo
10.Tohir Rajabiy (Rubob).Ko'rmadim.
11.Turg'un Alimatov.Chorgoh
12.Turg'un Alimatov.Sato nolasi
13.Turg'un Alimatov.Tanbur navosi
14.Turg'un Alimatov.Tanovar

Fattohxon Mamadaliyev - Mumtoz qo'shiqla Photobucket

Rubob navosi/ Мелодии рубаба Photobucket

Tohir Rajabiy padari buzrukvori - buyuk alloma va bastakor Yunus Rajabiy oilasida tug'ilgani uchunmi bolaligidan musiqaga osna bo'ldi,rubob sirlarini o'rgandi.Yillar o'tib u faqat yurtida emas,chet ellarda ham taniqli sozandaga aylandi.
Biz bundan birmuncha vaqt avval Tohir Rajabiy ijrosida chet el kuylaridan tuzilgan albomni taqdim etgan edik.Bugun uning butun ijodi samarasi bo'lmish yirik hajmli musiqiy albomni diqqatinga havola etamiz.

* * *

Тахир Раджаби родом из династии выдающегося узбекского певца, музыканта, композитора, академика, народного артиста Узбекистана Юнуса Раджаби .
Представляемый музыкальный альбом это итог многолетного творчества одаренного музыканта.Многие произведения вошедшие в альбом являются неотъемлемой частью учебной программы молодых

Saturday, 27 November 2010

Shigaev Dauletkerey Kyuis - Даулеткерей куйлерi Photobucket

Dauletkerei(Shygaiuly) (1820-1887) - composer, kiuishi. Dauletkerei was an advocate of the spiritual development of mankind and always defended his principles and convictions. He travelled widely, met with the representatives of artistic and clerical circles and studied common people’s way of life. One of the most important events in the composer’s life was meeting with great Kurmangazy. In addition to Kurmangazy, the kiuishis such as Sokyr Eszhan, Baizhuma, Musirali especially influenced the creative activity of Dauletkerei. Under the influence of such great men formed his civil world outlook and creative development. Dauletkerei’s compositions show progressive social views, philosophy of life, the lyrics of the times, the history of the people. The kiuis of Dauletkerei -«Akbala kyz», «At kalgan», «Baizhuma», «Zhiger», «Kudasha» etc. entered the treasury of Kazakh musical culture.

Uyghur Folk: On ikki Muqam - Двенадцать МукамовPhotobucket

Существует ли в мире концерт, для завершения которого понадобятся сутки? В «двенадцать мукамов» Синьцзяна 360 напевов, более 4 000 строк текста. Для их полного исполнения необходимо 24 часа.

«Мукамы» – это свидетельство культурных обменов между Востоком и Западом. Исторически в Синьцзяне, расположенном на Шелковом пути, произошло сближение восточной и западной культур. В ходе своего развития «мукамы», возникшие у различных народов в результате взаимодействия культур, создали изумительную величественную картину.

Исполнение народных «мукамов»: сцена расположена в тени евразийских тополей, повсюду безбрежное песчаное море Такла-Макан. Десятки актеров, буквально забывшие обо всем на свете, громко поют – это исполнение, в котором весь организм человека концентрируется на голосовых связках. Музыкальные инструменты – сатар, дутар, жаках, сурнай, тамбур – издают исключительно высокие и повторяющиеся звуки. Если вы стоите на месте, то почувствуете, что воздух как будто резко задрожал.

1. Rak Muqami
2. Chebbayat
3. Segah
4. Chehargah
5. Penjgah
6. Üzhal
7. Ejem
8. Ushshaq
9. Bayat
10. Nawa
11. Mushawrek
12. Iraq

Folk Tunes from the Two Sides of the Caucasus.Photobucket

Field recordings of Karachay, Balkar, Avar and Azeri songs.

Tuvan throat singing vituosos Photobucket

"Field recordings" focusing on different styles of Tuvan throat singing.

Алтай Кай - Хан Алтай Photobucket

Music of Northern Lights Photobucket

Музыка малочисленных народов Советского Севера:
эвенков, ненцев, удэгейцев, нивхов, юкагиров, эскимосов, чукчей и других народностей населяющих север нашей Родины.
Дата выпуска 1990 год, использованы материалы фольклорных экспедиций Союза композиторов СССР 1964—1989 годов.

Friday, 26 November 2010

Saturday, 20 November 2010

Sharofiddin Murodov - Mumtoz qo'shiqlarPhotobucket!download|569l32|368074576||55932


Turkmen Musical Instruments-Dilli Tuyduk

Калмыки. Исторический очерк Photobucket

Music of the Oriental Jews from North Africa, Yemen & Bukhara Photobucket


Friday, 19 November 2010

Exotica from Siberia.

Yakutian version of We Are The Champions in support of the Russian Olympic team.

Wednesday, 17 November 2010

The first recordings in the Georgian Republic Khasanbegura 1907

Amazing Georgian polyphonic singing, earliest recordings from beginning of XXth century

Monday, 15 November 2010


Isoqijon Jorahonov

Melodies of Nay Photobucket


PEQ TIME MACHINE!!!Photobucket


Thursday, 11 November 2010


This is a glimpse back to the Chaikhana festival by Primitive Equations in outLine, Amsterdam in March 2010.
In this video in no particular order of appearance: Ensemble Mashrap, Albina Degtyareva, Willem De Ridder, Alexei Morozov, German Popov, Maxim Chapochnikov, Jejina, Fransje, Almagul Menlinbaeva

Tuesday, 9 November 2010

Primitive Equations on SoundCloud

You can listen to typical Primitive Equations music and mixes on PEQ Sound Cloud page. It's about field recordings, sounds, radio transmissions and exotic pop. Enjoy! Your comments most welcome.

Tuesday, 2 November 2010

babla welkom by OMFO

Wednesday, 27 October 2010

Avtandil Israfilov-Shalaxo

Gulshan- Ey Sanam -Tajik Disco

Rəşid Behbudov - Sənədə Qalmaz


Akushynka by Primitive Equations

Casio and Dili Tuyduk from sunny Turkmenistan!!!

unknown by Primitive Equations
dili tuyduk
The dili tuiduk, дилли туйдук ( also dilli düdük, dilli tuyduk , dili tüidük, dilli tüidük ) is a Turkmen woodwind instrument. It is a clarinet-like, single-reed instrument used mainly in Turkmen folk music.