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Seleshe Demassae

Songs from Ethiopia today
House of the Cultures of the World
Product number: SM 15162
€12.00
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Product Details

Description

Seleshe Demassae comes from one of the few cultures in which the lyre, a very ancient instrument, still accompanies song. As a singer, dancer, instrumentalist, composer, and poet Seleshe builds on the rich variety of cultures in his native Ethiopia. He studied traditional East African music, teaches in Africa, Europe, and the United States, and specializes in the sagas of the azmaris, the singer-poets of East Africa. On the present CD Seleshe performs for the first time with the Ivory Coast percussionist Suleymane Touré, a master of the talking drum.

Content

Eté Meté
Degena
Teale
Ya Megalé
Degé
Ché
Endeyawes
Worio Wata
Alé Hoy
denbuche Gela
Ere Amsal
Agaro
Neterek
Ambasel
Segno Maskegno
Aya Ho Ho

More Information

Title:
Seleshe Demassae
Songs from Ethiopia today
House of the Cultures of the World
Seleshe Demassae: krar and vocals / Souleymane Touré: talking drums and djembé
Publisher/Label:
Wergo
Duration:
68 ′40 ′′
Series:

Technical Details

Product number:
SM 15162
MAN EAN:
4010228151626
Weight:
0,12 kg

More from this series

Music of World Cultures
World Music – What Is Distant? What Is Near? World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today. This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar. The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.

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