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 http://rapidshare.com/files/181752087/Voyage_en_U.R.S.S._2_-_a__Ouzb_kistan___Melodia__LE_CHANT_DU_MONDE___FLAC-cue.flac




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 http://rapidshare.com/files/176686420/Tohir_rajabiy_rubob_navolari_part-1_turklib.uz.rar

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



Turkmen Musical Instruments-Dilli Tuyduk

Калмыки. Исторический очерк Photobuckethttp://hotfile.com/dl/80164493/81ef699/kalmyki_istoricheskii_ocherk.rar.html

Music of the Oriental Jews from North Africa, Yemen & Bukhara Photobuckethttp://www.megaupload.com/?d=D73ERERF


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. http://soundcloud.com/peq

Tuesday, 2 November 2010

babla welkom by OMFO