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Posted: 2007-07-09 02:30:00

Since the group’s inception in 1974, Los Camperos de Valles have come to represent the best in one of Mexico’s most distinctive and uplifting folk mus [more...]ic traditions—the son huasteco. In the son huasteco tradition, poetic lyrics often deal with themes of longing, love, and nature. The melancholy themes often contrast with and yet somehow complement the playful melodies. “El gusto” (The Pleasure) is about lost love and typifies how imagery of rural life is often used to portray this pain and longing in son huasteco. Find the recording and lyric translations of the song at www.smithsonianglobalsound.org.
Since the group’s inception in 1974, Los Camperos de Valles have come to represent the best in one of Mexico’s most distinctive and uplifting folk music traditions—the son huasteco. In the son huasteco tradition, poetic lyrics often deal with themes of longing, love, and nature. The melancholy themes often contrast with and yet somehow complement the playful melodies. “El gusto” (The Pleasure) is about lost love and typifies how imagery of rural life is often used to portray this pain and longing in son huasteco. Find the recording and lyric translations of the song at www.smithsonianglobalsound.org.
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Posted: 2007-07-06 02:30:00

The lively sounds of traditional joropo music can be found throughout the plains of Colombia and Venezuela. Created by ranching people with a love of [more...]cattle, horses, music, and dance, the joropo's driving rhythm and percussive stringed instrument sound draw from centuries-old Spanish, African, and New World musical traditions that contributed to the region's unique mestizo (mixed) culture. The music reflects the pride the plains people have in their history and culture. Here, Grupo Cimarrón, a "supergroup" of Colombia's finest joropo musicians, perform "Y soy llanero" (And I Am a Plainsman), a song that extols and romanticizes the plains and its cattle ranchers. It is from their GRAMMY-nominated CD, Sí, Soy Llanero, available at www.smithsonianglobalsound.org.
The lively sounds of traditional joropo music can be found throughout the plains of Colombia and Venezuela. Created by ranching people with a love of cattle, horses, music, and dance, the joropo's driving rhythm and percussive stringed instrument sound draw from centuries-old Spanish, African, and New World musical traditions that contributed to the region's unique mestizo (mixed) culture. The music reflects the pride the plains people have in their history and culture. Here, Grupo Cimarrón, a "supergroup" of Colombia's finest joropo musicians, perform "Y soy llanero" (And I Am a Plainsman), a song that extols and romanticizes the plains and its cattle ranchers. It is from their GRAMMY-nominated CD, Sí, Soy Llanero, available at www.smithsonianglobalsound.org.
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Posted: 2007-07-04 02:30:00

The oud, a traditional Middle Eastern string instrument, is over 5,000 years old and the ancestor of many other string instruments. In this video, Rah [more...]im AlHaj, Iraqi oud virtuoso and composer plays, accompanied by master percussionist Souhail Kaspar. It is a glimpse into recording sessions for AlHaj's "When the Soul is Settled: Music of Iraq" CD, SFW-CD-45033, released October 2006. AlHaj is one of a very few professional oudists who are actively re-vitalizing and thereby preserving the Iraqi art music tradition. Explore more oud music from around the world at www.smithsonianglobalsound.org.
The oud, a traditional Middle Eastern string instrument, is over 5,000 years old and the ancestor of many other string instruments. In this video, Rahim AlHaj, Iraqi oud virtuoso and composer plays, accompanied by master percussionist Souhail Kaspar. It is a glimpse into recording sessions for AlHaj's "When the Soul is Settled: Music of Iraq" CD, SFW-CD-45033, released October 2006. AlHaj is one of a very few professional oudists who are actively re-vitalizing and thereby preserving the Iraqi art music tradition. Explore more oud music from around the world at www.smithsonianglobalsound.org.
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Posted: 2007-07-02 02:30:00

Los Pleneros de la 21 gelled as a group in 1983, when conservatory-trained percussionist Juan "Juango" Gutiérrez followed his pride in his Puerto Rica [more...]n culture and assembled a group of street-corner musicians in New York City to perform the signature genres of Afro-Puerto Rican music: bomba and plena. The group took its name from a bus stop in Santurce, Puerto Rico, one that identifies a neighborhood known for its plena musicians. This live performance at the 2005 Smithsonian Folklife Festival presents the rich instrumentation blended with rhythms and melodic lines as well as the festive mood with which this music is usually associated. Find music from their GRAMMY-nominated album Para Todos Ustedes at www.smithsonianglobalsound.org.
Los Pleneros de la 21 gelled as a group in 1983, when conservatory-trained percussionist Juan "Juango" Gutiérrez followed his pride in his Puerto Rican culture and assembled a group of street-corner musicians in New York City to perform the signature genres of Afro-Puerto Rican music: bomba and plena. The group took its name from a bus stop in Santurce, Puerto Rico, one that identifies a neighborhood known for its plena musicians. This live performance at the 2005 Smithsonian Folklife Festival presents the rich instrumentation blended with rhythms and melodic lines as well as the festive mood with which this music is usually associated. Find music from their GRAMMY-nominated album Para Todos Ustedes at www.smithsonianglobalsound.org.
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