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Tài tú Nam bô

Saigon: Masters of Traditional Music
House of the Cultures of the World
Product number: SM 15332
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Am nhac tài tú Nam bô (music of the talented) is an artistically ambitious variety of amateur music from southern Vietnam that developed in the latter half of the nineteenth century with the founding of circles of especially talented musicians. Its repertoire, which represents an essential part of the cultural identity of the south, belongs to musical traditions of Vietnam that are increasingly at risk of being forgotten. Every piece is created anew at each performance. The musicians must give an individual form to a preexisting abstraction with few fixed points. In this context it is interesting to note that the conception of composition and creativity differs from that of classical European models. The CD was awarded the Quarterly German Record Critics' Award!


Cô ban van
Bình bán chân
Xuân tình chân
Nam dao
Giang Nam cu’u khúc
Liêu Giang
Hô lan
Ngu dôi ai
Da cô hoài lang
Lý giao duyên
Lý Phu’óc Kiên

More Information

Tài tú Nam bô
Saigon: Masters of Traditional Music
House of the Cultures of the World
Vuy Chô: tranh, ty bà / Ba Tu: kìm, cò, tranh / Van Môn: ghita phím lõm, kìm / Quang Dung: cò, sáo, bâu, tam, viôlông
66 ′5 ′′

Technical Details

Product number:
SM 15332
0,11 kg

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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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