1-20 of 50 results  for:

  • Musical Concepts, Genres, and Terms x
  • 21st c. (2000-present) x
  • Traditional, Folk and Indigenous Musics x
Clear all

Article

Vasil S. Tole

(b Përmet, Albania, May 2, 1929; d Përmet, Jan 26, 2014). Albanian folk music performer. A clarinettist and vocalist, nicknamed ‘Përmeti’s nightingale’, founder of the instrumental iso-polyphonic group (saze ensemble) in the Southern town of Përmet (1944–2004). At a young age, he showed a special ability to design and make instruments. He was taught to play the lute and the clarinet by the saze masters in the city of Korçë. Then his family returned to Përmet, where he joined the saze of Vangjel Leskoviku (1944). At Përmet, he organized his own saze and participated in the Folk Music Festival in Tirane (1952), where he was awarded the First Prize for the best folk clarinettist. His saze was composed of a clarinet, two lutes, two accordions, a frame drum, and a violin. The saze played instruments and sang at the same time. He is a composer of songs, clarinet ...

Article

Amra Bosnić

(b Kuršumlija, Serbia, 1966). Bosnian and Herzegovinian composer. She graduated with a degree in composition from the Academy of Music in Sarajevo (1991), in the class of josip magdić, after which she gained the Master of Composition (2004) under the mentorship of composer dejan despić. Her first position was at the Srednja muzička škola (‘music high school’) in Valjevo, Serbia (1992–2000). She returned to Eastern Sarajevo, Bosnia and Herzegovina, to work as an Associate Professor of Harmony and Harmonic Analysis.

Dutina’s compositions reflect her interest in Balkan folklore, mostly of a rural-vocal type, and in the formal and harmonic devices associated with neoclassicism. She has composed solo songs, chamber music, symphonic works, vocal-instrumental music, choral music, music for children, and film music.

Dutina also cherishes folkloric vocal traditions through her engagement as founder and artistic director of the female vocal ensembles Rusalke (...

Article

Laurence Libin

(b Jirapa, Ghana, June 22, 1958). Ghanaian xylophone maker, player, and teacher. Born into a family of gyilli makers and players in northwest Ghana, Doozie began playing at six years of age. When he was 12 his father taught him to make his first gyilli and he was a practised maker by age 15. After secondary school Doozie moved to Accra to become a xylophonist with the Ghana Dance Ensemble. He was also an instructor at the Institute of African Studies at the University of Ghana, Legon. Among other appointments, he has performed with the National SO Ghana and has been associated with the Institute of African Studies and the music and performing arts departments of the University of Ghana. In 1990 he established a workshop to produce xylophones; he made the xylophones used in the Broadway production of The Lion King. He has also restored instruments in museum collections. He continues to teach and perform and is managing director of Dagarti Arts and Music in Accra and a member of the Arts Council of Ghana. He is also involved in promoting fair trade practices. Doozie’s xylophone bars—from eight to 18 for each instrument—are made of aged, fire-dried planks of wood from male shea trees. Gourd resonators are affixed under the bars, which are tied to the curved frame. The tips of the wooden beaters are padded with rubber recycled from tyres....

Article

Barry Jean Ancelet

(b Lafayette, LA, Feb 14, 1951). American fiddler, guitarist, vocalist, and songwriter. Doucet has become arguably the most widely recognized Cajun musician ever. His formative influences within Cajun and Creole music include acknowledged masters such as Dewey Balfa, Canray Fontenot, and especially Dennis McGee, as well as lesser-known but no less important masters such as Varise Conner, Lionel Leleux, and Hector Duhon. Other influences include the folk rock, country, and swamp pop influences of his youth. Doucet first approached Cajun music in the 1970s in a group called Bayou des Mystères. He then founded a rock-country-Cajun fusion band called Coteau, the first such band to attract the attention of the younger university crowds. After Coteau dissolved, Doucet turned to his long-running band Beausoleil, which was informed by an eclectic collection of influences that reflect the complex history of Cajun music, including traditional, classical, rock, and jazz elements. Beausoleil has played all over the world and recorded more than 30 albums for many labels, including Swallow, Arhoolie, Rounder, Rhino, and Alligator. These albums have garnered 11 Grammy nominations and two wins. Doucet has also recorded albums with other musicians, including Marc and Ann Savoy, Ed Poullard, and his brother David Doucet. He has performed with symphony orchestras and with the Fiddlers Four. Along the way, he has made ingenious use of old material, for example, turning unaccompanied ballads that John and Alan Lomax collected in Louisiana in ...

Article

Stephen D. Winick

(b Hatboro, PA, July 1, 1969). Traditional Irish musician, composer, and bandleader. Egan’s father was from County Mayo, Ireland, and the family moved there when Séamus was three. He took music lessons with Martin Donaghue, a button accordion player from Ballindine. Seeing the flutists Matt Molloy and James Galway on television encouraged him to play the flute, and he began competing in the All-Ireland championships on flute and whistle. In 1981 his family returned to the Philadelphia area, and he met mick Moloney , who mentored him on mandolin and banjo. Egan continued to compete in the All-Ireland championships, and by the age of 14 he had won titles on four instruments.

Egan has recorded albums as a solo artist and with Moloney and the fiddler Eugene O’Donnell. In the 1980s he joined Moloney’s ensemble The Green Fields of America, and he appears on some of their recordings. In ...

Article

Paul Yoon

(b Los Angeles, CA, April 2, 1953). American taiko artist. Of Japanese American descent, he studied drumming, especially jazz and rock, from an early age. He first experienced taiko in the early 1970s and joined Kinnara Taiko in 1975. His interest in taiko was fueled by an emergent sense of his ethnic identity. He went on to study with the San Francisco Taiko Dojo in 1976. Endo felt that it was important to emphasize the Asian aspects of his heritage, and to this end he traveled to Japan in 1980. For the next decade he studied kumi daiko (ensemble drumming), hogaku hayashi (classical drumming), and matsuri bayashi (festival drumming), and he became the first non-native to receive a natori (stage name), Mochizuki Tajiro, in hogaku hayashi. While in Japan, he studied with and was a performing member of Oedo Sukeroku Taiko and Osuwa Daiko. He moved to Honolulu in ...

Article

Speranța Rădulescu

(b Romania, 1930; d Copenhagen, 4 April 2015). Romanian-Danish ethnochoreologist. She worked as a researcher at the Institute of Ethnography and Folklore in Bucharest from 1953 to 1979. She contributed to the foundation and development of scientific research on traditional dance in Romania, where she conducted extensive fieldwork, filming dances and rituals in over 200 villages. Her main interests concerned the contextual study of dance, the analysis of dance structure, the processes of dance improvisation, and dance as an identity marker for the Roma minority group. She also investigated the way traditional symbols were manipulated in Romania for national and political power legitimation.

After 1980 she lived in Denmark, where she conducted research on topics such as continuity and change in the traditional culture of the Vlachs (a Romanian speaking ethnic minority of Serbia) living in Denmark, the Romanian healing ritual căluş, and on the theory and methods of field research in contemporary society. She was the Honorary Chairperson of the ICTM Study Group on Ethnochoreology and the leader of the Sub-Study Group on Fieldwork Theory and Methods, a Board member of Danish National Committee for ICTM, and Doctor Honoris Causa of Roehampton University, London. She had a great number of publications and a fruitful activity as a lecturer on an international level. In her last years, she worked with Margaret Beissinger and Speranța Rădulescu on the volume ...

Article

Greg Downey

[Mestre João Grande; dos Santos, João Olivera]

(b Itají, Bahia, Brazil, Jan 15, 1933). Brazilian teacher and master practitioner of capoeira angola. After migrating from rural Bahia to Salvador, he learned capoeira in the Centro Esportivo de Capoeira Angola under the legendary mestre Vicente Ferreira Pastinha. Influenced also by such veteran practitioners as Cobrinha Verde and Barbosa, he became a widely respected capoeirista, adept at the art’s movements, songs, and instrumental music, especially that of the berimbau, a musical bow. João Grande and three other students accompanied Pastinha to Senegal for the first World Festival of Black Arts in 1966. He later joined Viva Bahia, a folk dance troupe directed by Emília Biancardi, touring Europe in 1976 and was publicly recognized as a successor by Pastinha. In 1990 he moved to New York, where he established the Capoeira Angola Center of João Grande. He has received a medal from the Brazilian ministry of sports (...

Article

Stephen D. Winick

(b Winnipeg, Manitoba, June 29, 1917; d San Francisco, CA, March 22, 2009). Folklorist, music scholar, and labor activist of Canadian birth; naturalized American. After graduating from the University of California at Berkeley, Green worked as a road builder, a firefighter, a shipwright, and a carpenter, and joined the United Brotherhood of Carpenters and Joiners of America. Green enrolled in graduate school in 1958, earning the Master’s in Library Science and the PhD in folklore. He progressed to a distinguished career as a professor, scholar, and librarian.

As a scholar Green was best known for work on occupational folklore and early hillbilly recordings. He combined these interests in his first book, Only a Miner (1972). He went on to write many other books, as well as articles in Appalachian Journal, the Journal of American Folklore, Labor’s Heritage, Musical Quarterly, and other periodicals and anthologies. Green’s most recent publication is ...

Article

Jada Watson

(b Seguin, TX, July 6, 1953). American country/folksinger-songwriter. She grew up in a musical home, began playing guitar at a young age, and started writing songs at the age of six. When she was 14 she began performing in honky-tonks. After college Griffith taught kindergarten by day and performed in honky-tonks at night. It was not until 1977 that she decided to pursue a career in music. She self-promoted her first two albums at folk festivals and formed her own backing band, the Blue Moon Orchestra. In 1987 she landed a recording contract with MCA Nashville and made her major-label debut with the critically acclaimed album Lone Star State of Mind, charting a single with the title track. The album also featured Julie Gold’s song “From a Distance,” which has become Griffith’s signature tune. After several unsuccessful albums Griffith transferred to MCA’s pop division in 1989 and recorded her first pop-oriented album, ...

Article

Brenda M. Romero

(b Costa de la Palma Ranch, nr Alvarado,Veracruz, Mexico, July 2, 1942). Mexican singer and traditional musician. Together with brothers Felipe and Marcos Ochoa (originally from Rancho de Zacaiste, Veracruz), José Gutiérrez (originally from Costa de la Palma) has performed traditional music of the Mexican state of Veracruz, on the Gulf of Mexico for over half a century. As a child he learned to play the arpa jarocha, the jarana, and the requinto, instruments of the emblematic regional music, son jarocho. His professional musical career began as a teenager in Boca del Río, Veracruz, in the early 1970s, when he performed with Lino Chávez in the Conjunto Medellín and learned the skills of a lead singer, the pregonero (“caller”). As pregonerohe acquired the ability to lead a call and response with the audience, and to improvise verses that comment on the immediate situation at hand or people in attendance. Performances playing the ...

Article

Paula J. Bishop

Hawaiian hula school in Hilo, Hawaii. Founded in 1953 by Edith Kanaka’ole, the school has been instrumental in the preservation and dissemination of hula and chant practices associated with Pele, the goddess of fire. Knowledge about these traditions was passed down to Kanaka’ole through matrilineal descent for at least seven generations, and she in turn instructed her own daughters, Pualani Kanaka’ole Kanahele and Nalani Kanaka’ole, who inherited the school in 1979 upon their mother’s death.

The style of hula taught and performed by the school, ’aiha’a, is characterized by a bent-knee posture and vigorous movements, a reflection of the energy and power of the volcano goddess. In addition to learning hula, dancers at the school become fully immersed in the culture of Hawaii and hula. They learn the Hawaiian language and how to play the ipu (gourd) and pahu (sharkskin drum), and create their own costumes and props using the traditional materials and practices....

Article

Trena Jordanoska and Dimitrije Bužarovski

(b Skopje, Macedonia, Dec 21, 1923; d Skopje May 4, 2001). Macedonian folk singer. Her recognizable, very expressive, nasal mezzo-soprano voice, praised for its pureness, its precision, quality, and rich ornamentation, brought her the attribute ‘The Uncrowned Queen of Macedonian Folk Song’. Sharing her professional career and celebrity status with the first generation of singers performing for Radio Skopje in the 1950s and 60s, she is among the singers who influenced the interpretational model of the repertory of traditional Macedonian music.

Born in Bošnjačko maalo, Čair, in a family of musicians (her father Todor Boškov was a gajda player in the ensemble Tanec), her first employment was at the tobacco factory in Skopje. Her first professional performances with the Tanec folk ensemble at the beginning of the 1950s with the songs ‘Niko Meandžiko’, ‘Što imala k’smet Stamena’, and ‘Air da ne storiš majko’ contributed to her engagement as a singer for Radio Skopje in ...

Article

Alexander M. Cannon

(b Savannakhet, Laos, 1947). Laotian composer and singer. He began his musical training by studying Lao folk songs with Buddhist monks. Before age 20, he already had garnered a reputation as a creative maulam, or narrative singer of lam (or lum)—a genre of traditional vocal music from southern Laos of solo or male–female repartee singing accompanied by khene and oftentimes a small ensemble. He later studied composition and performance and was employed in 1965 by the Department of Lao National Fine Arts. In 1968, he entered the army and worked as a singer for the National Radio Broadcast. After the Pathet Lao came to power in 1975, he worked at the military radio station singing propaganda songs. In 1979, he escaped to Thailand, and in 1980, immigrated to the United States, first living with his cousin, Bountong Insixiengmay, in Bowling Green, Kentucky. He soon relocated to Minneapolis—a city with a large population of Lao émigrés—and in ...

Article

Stephen D. Winick

(b New York, NY, July 13, 1965). American traditional Irish fiddler, banjo player, and bandleader. Eileen Ivers was raised in the Bronx by Irish parents. She took up the fiddle at age nine, taking lessons with Irish fiddler Martin Mulvihill. She began competing in the All-Ireland championships as a teen, and ultimately won 35 championships, including nine solo fiddle titles and a tenth on tenor banjo, making her the most successful American-born competitor in the All-Ireland’s history.

During the 1980s, Ivers was a founding member of Cherish the Ladies, played with Mick Moloney’s ensemble The Green Fields of America, and toured and recorded in an influential duo with accordionist John Whelan. In 1990, she was invited to record and tour with the pop duo Hall & Oates, which she did for over a year. She then returned to New York, where she immersed herself in the multicultural music scene. In ...

Article

Catherine Wojtanowski

(b Sarajevo, Yugoslavia [now Bosnia and Herzegovina], 1925). American singer and guitarist. Growing up in a Sephardic Jewish community, she learned Balkan folklore as well as traditional songs in the Ladino language with guidance from her grandmother. In 1946 she married a serviceman and immigrated to the United States, where she has become known as the Flame of Sephardic Music because of the strength of her commitment to this unique musical heritage. In addition to transcribing, performing, and teaching traditional Ladino material, Jagoda has composed and arranged new Sephardic songs. She also has performed material drawn from biblical verses, poems, and prayers. She has recorded several albums, which often recall her early experiences, including Memories of Sarajevo (1996) and Kantikas di mi Nona (Songs of my Grandmother) (1996). She also published The Flory Jagoda Songbook: Memories of Sarajevo (1996), which includes songs and stories about her family history. She is featured in the documentary ...

Article

Sisters Pualani Kanaka‘ole Kanahele (b Keaukaha, HI, 14 Sept 1937), writer, teacher, and producer, and Nalani Kanaka‘ole Kanahele (b Hawaii, 19 March 1946), choreographer and teacher, are the daughters of Edith Kanaka‘ole, famed chanter and kumu hula (master teacher) of Hilo, Hawaii. After Edith’s death in 1979, they inherited her hula school, Halau o Kekuhi, and became respected elders and teachers in their own right. The sisters continue the legacy of their mother by preserving ancient practices while incorporating innovations into their hula presentations. They codirected and coproduced the hula drama, Holo Mai Pele, the epic tale of the goddess of fire, Pele, and Hi‘iaka, the patron goddess of hula dancers. The production blends traditional hula and oli (chant) with narration and modern stagecraft into a theatrical performance. Pualani and Nalani have created other experimental hula performances that utilize new or non-Hawaiian influences, while maintaining a strong classical hula tradition....

Article

Vera H. Flaig

(b Balandugu, Guinea, West Africa, 1950). Drummer, director, and teacher of Guinean birth. Mamady Keïta began his official apprenticeship with the village djembéfola at the age of eight. By his late teens, he was lead drummer of Ballet D’Joliba. By 22 he became the company’s first drummer to act as artistic director. Upon his retirement from the ballet in 1986, Keïta played briefly for the national ballet in Côte D’Ivoire before settling in Belgium where he founded an international djembé school called Tam Tam Mandingue.

Keïta came to live in the United States in 2004. At his first official workshop as an American resident, Keïta announced: “I spent fifteen years cleaning up the djembé drumming in Europe. Now it is time to do the same in America.” Despite the growing popularity of the djembé, Keïta was surprised by the lack of understanding about its history and music within American drum circles. Keïta, together with six other ...

Article

Melanie Maldonado

Plena and bomba group. Los Pleneros de la 21 (LP21) have the distinction of being the longest-running group to specialize in performing Puerto Rican Plena and Bomba in the continental United States. Since 1983, this New York City-based, intergenerational group has taken these traditional genres from their local New York community to the international stage. The group has produced five albums that both celebrate traditional AfroPuerto Rican music and fuse it with other genres of their urban soundscape. LP21 was founded in the South Bronx by National Heritage Fellow Juan Gutierrez-Rodriguez and contemporaries who included Edgardo Miranda and Eugenia Ramos. Other luminaries who contributed to the evolution of the Grammy-nominated group include famed plena musician (plenero) Marcial Reyes and the distinctive bomba musician (bombero) Roberto Cepeda, a member of one of Puerto Rico’s premier musical families. The members of LP21 are more than musicians and dancers; they are educators and cultural activists who invest their time into their local community by providing workshops for children and adults in the historic community of El Barrio in Manhattan. Today LP21 boasts a membership and group of alumni that includes some of the most well respected pleneros and bomberos in the United States and Puerto Rico....

Article

Kate Dunlay

(Dwayne )

(b Antigonish, NS, Feb 24, 1975). Canadian fiddler, pianist, composer, and singer. During his early years, he was immersed in the Scottish-derived traditional music of Cape Breton Island, Nova Scotia. He took up the fiddle (which he plays left-handed) at age eight. MacIsaac studied under Stan Chapman along with sister Lisa, cousin Wendy MacIsaac, and neighbor Natalie MacMaster, all of whom are now well-known fiddlers.

In 1992 the teenaged MacIsaac released his first album, Close to the Floor. That same year he was invited to New York by theater director JoAnne Akalaitis to play in one of her husband Philip Glass’ works. Through this connection, MacIsaac eventually met and worked with Paul Simon and his wife Edie Brickell, as well as David Byrne. Over the years Glass has involved MacIsaac in other projects, such as Orion (recorded 2005).

The release of the innovative album HiHow Are You Today...