SOAS is sounding the world

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|a SOASIS 00 |2 SOAS music number

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|a UkLSOA |c UkLSOA

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|a Sounding the world.

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|a SOAS is sounding the world |h [electronic resource] |b a compilation of music from around the globe, assembled, performed and recorded by students, staff and friends of the Department of Music at SOAS |y English.

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|a London : |b SOAS University of London, |c 2007.

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|a 1 booklet + 14 audio files

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|a Track 1: Sokkan A piece from the traditional repertoire of the Japanese monks known as komuso in the Fuke sect of Zen Buddhism. Played on a ji-nashi shakuhachi, a vertical bamboo flute with no lining to its bore (unlike modern instruments that have lacquer coatings). The title translates as 'observing the breath'.

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|a Track 2: Allah Lamina Kadialy Kouyate was born in Senegal into a family of griots, known as jali in Mandinka-traditional oral storytellers. He started to play the kora, a 21-stringed calabash bridge harp, at an early age. The song title means 'to endure'.

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|a Track 3: Jugalbandi An original composition by Anthony Malatesta, who plays all the instruments, based on the Jugalbandi style of Indian classical music which involves two equal lead instruments or vocalists playing and singing together.

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|a Track 4: Hwahwa ndichahuregera A traditional Zimbabwean Chimurenga song, arranged by Matimba and performed by Harare. The title means 'I shall stop drinking beer' and the song describes a man singing about his excessive drinking, announcing he will stop.

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|a Track 5: Ketawang Subaakastawa Laras Pelog Pathet Nem The gamelan gadhon used here features the soft instruments of the Central Javanese gamelan ensemble. 'Ketawang' denotes the form of the piece; the tuning (laras) is the seven-tone pelog scale, and the mode (pathet) is nem. 'Subakastawa means 'royal gift'.

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|a Track 6: Lin Quan (Spring in the Wood) The zheng is a Chinese half-tube long zither that typically has sixteen strings plucked with the right-hand fingernails. Spring in the Forest was composed by Ye Xiaogang in 2001, and in it the composer depicts the characteristics of water as it is transformed during its journey through a wood.

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|a Track 7: Sama'i Nahawand Composed by Khyam Allami for S.F. The Sama'i is a traditional instrumental Arab classical or art music genre that can be played solo or in ensemble. Nahawand denotes the maqam this piece is based on, although it modulates to the Lydian mode and then to maqam Kurd.

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|a Track 8: Foni Komitissa 'Foni' usually denotes a melody to which different verses can be adapted; 'Komitissa' indicates a region in Cyprus, and this is where this folksong originated. Although the oud is a lute associated more with the Middle East, it is used here to accompany the vocalist with a drone and improvisatory interjections.

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|a Track 9: Sayrang Bulbulum, Sayrang! (Sing, My Nightingale, Sing!) The traditional song recorded here uses a characteristic aqsaq (limping) rhythm, and its theme is one common in Uyghur songs: the suffering of separation from the beloved.

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|a Track 10: Nayaneri Tara Tumi An original composition in Bengali by Prabhat Ranjan Sarkar, from Prabhata Samgiita, song collection number 1237: 'You are nearer to me than the pupil of my eye, so that is why I can't see you'.

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|a Track 11: Chertmak A traditional piece from the Ferghana Valley that in times gone by was performed for entertainment and dance at women's gatherings, here played on the Uzbek dutar, a long-necked plucked two-stringed lute.

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|a Track 12: Toli (Advice) Composed by Sara McGuinness and Jose Hendrix Ndelo, and sung in Lingala, the lingua franca of the Democratic Republic of Congo, the song tells young people to listen to the advice of their parents, since parents have wisdom.

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|a Track 13: Dobranotsh This tune was used to serenade guests at traditional Eastern European Jewish weddings. It was taken from the collection of tunes and writings assembled in the 1930s by Soviet Jewish ethnomusicologist Moshe Beregovski, and is here played by twelve current members and alumni under the direction of klezmer violinist Ilana Cravitz.

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|a Track 14: The Promise Digital re-appraisal of a Monkfesh track by Paul O'Sullivan. Conga: Gary Wallace; percussion: Mandy Billingham; drums: Vernon Cowdy; bass: Liam Barnard; keyboard, percussion and vocals: Anna Wight; vocals: Papa Paul; timbales and bongo: Mike Forde; guitar & vocals: Paul O'Sullivan

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|a Copyright SOAS University of London

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|a Tk 1 recorded by Myles Boisen at Guerilla Studios, Oakland, California; Tks 2 & 12 recorded by Sara McGuinness at Gateway, Clapham; Tk 3 recorded and mixed by Alex Riedel in UMBC Studios, Baltimore, Maryland; Tk 4 recorded and mixed by Matimba, Tks 6, 9 & 11 by Jeremy Glasgow, Tk 7 by Khyam Allami, Tk 8 by Nicolas Rouger, Tk 10 by Carl Pope, Timothy Jenkins, Matthias Postel and Jyoshna La Trobe, all at the SOAS Sound Recording Studio, London; Tks 5 and 13 recorded live by the 439 Studio Crew in L60, SOAS, London; Tk 14 recorded at Breakfast Studios, London.

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|a Mixed and mastered by Sara McGuinness, Keith Howard and Jeremy Glasgow.

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|a Project management: Keith Howard.

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|a Developed by BA students on the 2006-2007 'Introduction to Sound Recording' course.

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|a World music.

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|a SOAS University of London. Department of Music.

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|a SOAS Digital Collections.

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|a Music.

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|a SOAS Repositories.

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|a GBR |b SDC |c Music

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|u http://digital.soas.ac.uk/AA00000377/00001 |y Electronic Resource

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|a http://digital.soas.ac.uk/content/AA/00/00/03/77/00001/CD_00001thm.jpg

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|a Music