Decouvrez la musique folklorique a la flute irlandaise avec ce recueil de chansons issues d'une tradition vivante. Sans connaissance prealable du solfege, vous pouvez immediatement commencer a jouer vos premieres melodies.
La flute irlandaise ("tin whistle" ou simplement "whistle") est une petite flute droite a six trous, qui dans sa forme actuelle date du 19eme siecle. De par son prix abordable et sa facilite de prise en main, c'est l'instrument le plus repandu en Irlande, et est souvent l'instrument de choix pour debutants et pour enfants.
Les melodies de ce recueil, et des autres dans la serie, ont ete choisies et arrangees en vue de permettre au debutant d'acceder facilement et rapidement a la musique sans passer par un lourd apprentissage technique. Des tablatures avec les doigtes a la flute sont proposees pour chaque morceau; un CD d'enregistrements audio est aussi disponible et meme conseille afin de favoriser l'apprentissage d'oreille.

Liste des chansons
Un petit cochon
A la claire fontaine
Ah vous dirai-je Maman
Gentil coquelicot
Dans la foret lointaine
Dansons la capucine
Dodo, l'enfant do
Ainsi font, font, font
Frere Jacques
Alouette, gentille alouette Au clair de la lune
Au feu, les pompiers
La barbichette
Aupres de ma blonde
La mere Michel
Il est ne, le divin enfant
Trois jeunes tambours
Il etait un petit cordonnier
Il pleut, bergere
Cadet Rousselle
Savez-vous planter des choux?
Une poule sur un mur
Une souris verte
Sur le pont d'Avignon
Petit Papa
Un kilometre a pied
Nous n'irons plus au bois
Ne pleure pas, Jeannette
Il etait un petit navire
Malbrough s'en va t-en guerre
"

Decouvrez la musique folklorique a la flute irlandaise avec ce recueil illustre de chansons issues d'une tradition vivante. Sans connaissance prealable du solfege, vous pouvez immediatement commencer a jouer vos premieres melodies.
Les melodies de ce recueil, et des autres dans la serie, ont ete choisies et arrangees en vue de permettre au debutant d'acceder facilement et rapidement a la musique sans passer par un lourd apprentissage technique. Des tablatures avec les doigtes a la flute sont proposees pour chaque morceau; un CD d'enregistrements audio est aussi disponible et meme conseille afin de favoriser l'apprentissage d'oreille.
Liste des airs
An bhfaca tu mo Sheamaisin?
An cailin rua
An seanduine doite
Baidin fheilimi
Bean Phaidin
Cuaichin Ghleann Neifin1
Cill Chais
Cunla
Eamonn an chnoic
Jimmy mo mhile stor
Eibhlin a run
Oro 'se do bheatha 'bhaile
Nil 'na la
Nead na lachan sa mhuta
Siuil a run
Siubhan Ni Dhuibhir
An spailpin fanach
Thugamar fein an samhradh linn
Deirin de
Cailleach an airgid
An maidrin rua
Oro mo bhaidin
Cailin na gruaige doinne
Ar eirinn ni n-eosainn ce h-i
Beidh aonach amarach
Trasna na dtonnta
Ta me i mo shui
Dulaman na binne bui
Buachaill on Eirne
Bheir me o
La flute irlandaise (tin whistle ou simplement whistle) est une petite flute droite a six trous, qui dans sa forme actuelle date du 19eme siecle. De par son prix abordable et sa facilite de prise en main, c'est l'instrument le plus repandu en Irlande, et est souvent l'instrument de choix pour debutants et pour enfants.
"

The last decade has witnessed the rise of the cell phone from a mode of communication to an indispensable multimedia device, and this phenomenon has led to the burgeoning of mobile communication studies in media, cultural studies, and communication departments across the academy. The Routledge Companion to Mobile Media seeks to be the definitive publication for scholars and students interested in comprehending all the various aspects of mobile media. This collection, which gathers together original articles by a global roster of contributors from a variety of disciplines, sets out to contextualize the increasingly convergent areas surrounding social, geosocial, and mobile media discourses. Features include: comprehensive and interdisciplinary models and approaches for analyzing mobile media; wide-ranging case studies that draw from this truly global field, including China, Africa, Southeast Asia, the Middle East, and Latin America, as well as Europe, the UK, and the US; a consideration of mobile media as part of broader media ecologies and histories; chapters setting out the economic and policy underpinnings of mobile media; explorations of the artistic and creative dimensions of mobile media; studies of emerging issues such as ecological sustainability; up-to-date overviews on social and locative media by pioneers in the field. Drawn from a range of theoretical, artistic, and cultural approaches, The Routledge Companion to Mobile Media will serve as a crucial reference text to inform and orient those interested in this quickly expanding and far-reaching field.

Thugadh tiotal an leabhar 'Ri Luinneig mun Chro bho oran eilthirich a' cuimhneachadh le cianalas air seallaidhean agus fuaimean an aite san togadh e, nam measg luinneagan nam ban oga 's iad a' bleoghan nam bo. Airson iomadh linn, tha crodh air pairt gu math cudromach a chluich ann am beatha nan Gaidheal agus tha dualchas luachmhor de dh'orain agus sgeulachdan againn fhathast air sailleabh sin. A bharrachd air orain bleoghain, tha iomadh seorsa oran eile co-cheangailte ri crodh ann an Alba san leabhar seo, a dh'innseas sgeulachd inntinneach air cul faclan nan oran - orain mu dhrobhairean agus buachaillean calma ag obair ann an side nan seachd sian; orain a' moladh a' chruidh fhein no na daoine a bhiodh a' coimhead as an deidh shuas aig an airigh no aig a' bhuaile; rannan a sheallas luach nam beathaichean mar iomhaigh, mar tochradh, no mar airgead; orain mu gainnead de fearainn, fuadachadh agus eilthireachd; orain mu chreachadairean dana a' goid spreidh bho an nabaidhean no bho sgirean fad air falbh; orain agus orrachan airson spreidh a dhion bhon droch-shuil agus bho spioradan olc agus orain eibhinn naidheachail mu thrioblaidean le tarbh a' bhaile.Tha an caibideil mu dheireadh a' coimhead air mar tha cuid de na teamaichean seo air an gleidheadh chun an latha an-diugh ann an talaidhean socair, seimh. Tha faclan nan oran fhein rim faotainn ann an earr-radh aig deireadh an leabhair, le fiosrachadh air cait' an lorgar claraidhean no dreachan sgriobhte den fonn. Chaidh corra phort a chruthachadh cuideachd airson beatha ur a thoirt do chuid de na h-orain, nach eil fhathast gan gabhail is na fuinn aca air chall thar uine. ENGLISH DESCRIPTION The title of the book 'Ri Luinneig mun Chro' ('Singing round the cattlefold') is taken from a Gaelic song telling of the poet's fond memories of his homeland, including the evocative sound of young women singing as they milked the cattle. For many generations, cattle have played a very important role in various aspects of Gaelic life and culture and a rich heritage of song and story has survived with cattle as a prominent theme.In addition to many milking songs, the book includes a wide range of other songs and poems connected to cattle in Scotland and tells the fascinating story behind the lyrics - songs about valiant drovers and herdsmen working in difficult conditions; songs extolling the virtues of the cattle themselves or of the people tending them at the shieling or in the local township; poems which show the importance of cattle in economic terms, as a status symbol, unit of currency or dowry; songs about land poverty, de-settlement and emigration; songs about intrepid cattle thieves stealing livestock from neighbouring clans and from further afield; songs and charms to ward away evil spirits and protect livestock from the evil eye and humorous anecdotal songs about difficulties with the local township bull. The final chapter looks at how many of these themes have survived to the present day in beautiful, soothing Gaelic lullabies. The song lyrics themselves are included in an appendix at the end of the book, with information on where to find a recording or written version of the tune. Some new tunes are also included to bring new life into songs whose original tunes have been lost over time.

One of the pioneers of gender studies in music, Ellen Koskoff edited the foundational text "Women and Music in Cross Cultural Perspective," and her career evolved in tandem with the emergence and development of the field.
In this intellectual memoir, Koskoff describes her journey through the maze of social history and scholarship related to her work examining the intersection of music and gender. Koskoff collects new, revised, and hard-to-find published material from mid-1970s through 2010 to trace the evolution of ethnomusicological thinking about women, gender, and music, offering a perspective of how questions emerged and changed in those years, as well as Koskoff's reassessment of the early years and development of the field. Her goal: a personal map of the different paths to understanding she took over the decades, and how each inspired, informed, and clarified her scholarship. For example, Koskoff shows how a preference for face-to-face interactions with living people served her best in her research, and how her now-classic work within Brooklyn's Hasidic community inflamed her feminist consciousness while leading her into ethnomusicological studies.
An uncommon merging of retrospective and rumination, "A Feminist Ethnomusicology: Writings on Music and Gender "offers a witty and disarmingly frank tour through the formative decades of the field and will be of interest to ethnomusicologists, anthropologists, scholars of the history and development of feminist thought, and those engaged in fieldwork.
Includes a foreword by Suzanne Cusick framing Koskoff's career and an extensive bibliography provided by the author.

From the rollicking welcome of A Festive Song to the defiant battle cry of Watchword of Labour, Songs Of Freedom accomplishes the difficult task of making contemporary music out of old revolutionary songs. In these arrangements, the inspired performance of a rocking band updates the timeless lyrics of James Connolly into timely manifestos for todays young rebels. As Connolly himself repeatedly urged, nothing can replace the power of music to raise the fighting spirit of the oppressed. The music ranges from traditional Irish airs to American rhythm and blues. 60 minutes

Cumbia is a musical form that originated in northern Colombia and then spread throughout Latin America and wherever Latin Americans travel and settle. It has become one of the most popular musical genre in the Americas. Its popularity is largely due to its stylistic flexibility. Cumbia absorbs and mixes with the local musical styles it encounters. Known for its appeal to workers, the music takes on different styles and meanings from place to place, and even, as the contributors to this collection show, from person to person. Cumbia is a different music among the working classes of northern Mexico, Latin American immigrants in New York City, Andean migrants to Lima, and upper-class Colombians, who now see the music that they once disdained as a source of national prestige. The contributors to this collection look at particular manifestations of cumbia through their disciplinary lenses of musicology, sociology, history, anthropology, linguistics, and literary criticism. Taken together, their essays highlight how intersecting forms of identity-such as nation, region, class, race, ethnicity, and gender-are negotiated through interaction with the music. Contributors. Cristian Alarcon, Jorge Arevalo Mateus, Leonardo D'Amico, Hector Fernandez L'Hoeste, Alejandro L. Madrid, Kathryn Metz, Jose Juan Olvera Gudino, Cathy Ragland, Pablo Seman, Joshua Tucker, Matthew J. Van Hoose, Pablo Vila

In November 1916, a young Afro-Brazilian musician named Donga registered sheet music for the song "Pelo telefone" ("On the Telephone") at the National Library in Rio de Janeiro. This apparently simple act--claiming ownership of a musical composition--set in motion a series of events that would shake Brazil's cultural landscape. Before the debut of "Pelo telephone," samba was a somewhat obscure term, but by the late 1920s, the wildly popular song had helped to make it synonymous with Brazilian national music.

The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate "Making Samba," including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio's pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.

Perhaps now best known as an acclaimed (and bestselling) author of fiction, Joe Klein has for nearly three decades been one of contemporary journalism's premiere reporters. In "Woody Guthrie: A Life", Klein's signature style of insightful narrative nonfiction brings to life a vivid chapter in the history of American culture.

In 1998, the Woody Guthrie Foundation made public for the first time more than 10,000 of his papers, letters, song lyrics, and artworks, sparking renewed interest in the life of an American folk legend who influenced generations of musicians to come. The New York Times, reporting on the phenomenon, described Guthrie's appeal and legacy succinctly: "(Woody Guthrie was) one of the most influential cultural figures of the century. Guthrie inspired Bob Dylan and virtually created the modern folk tradition and singer-songwriter genre, and his music remains as vital today as when he was performing".

Born in Oklahoma in 1912, Guthrie spent his early years among the farmers and migrant workers of the dust bowl. As a young man during the Great Depression, he traveled across the country by boxcar with his guitar, composing the indelible folk ballads that made him a leader of the politically vital folk movement of the pre-war era. Tragically, the onset of Huntington's disease, gradually diminished his mind, body, and work, and led to his untimely death at the age of 55. Still, Guthrie's life and music have inspired every important folk and folk rock artist since, from Pete Seeger, Bob Dylan, and Joan Baez to Bruce Springsteen, Billy Bragg, and Ani DiFranco.

This thirtieth anniversary edition of Sound and Sentiment makes Steven Feld's landmark, field-defining book available to a new generation of scholars and students. A sensory ethnography set in the rain forest of Papua New Guinea, among the Kaluli people of Bosavi, Sound and Sentiment introduced the anthropology of sound, or the cultural study of sound. After it was first published in 1982, a second edition, incorporating additional field research and a new postscript, was released in 1990. The third edition includes all of the material from the first two editions, along with a substantial new introduction in which Feld discusses Bosavi's recent history and reflects on the challenges it poses for contemporary theory and representation.

Unearthing Gender is a compelling ethnographic analysis of folksongs sung primarily by lower-caste women in north India, in the fields, at weddings, during travels, and in other settings. Smita Tewari Jassal uses these songs to explore how ideas of caste, gender, sexuality, labor, and power may be strengthened, questioned, and fine-tuned through music. At the heart of the book is a library of songs, in their original Bhojpuri and in English translation, framed by Jassal's insights into the complexities of gender and power.The significance of these folksongs, Jassal argues, lies in their suggesting and hinting at themes, rather than directly addressing them: women sing what they often cannot talk about. Women's lives, their feelings, their relationships, and their social and familial bonds are persuasively presented in song. For the ethnographer, the songs offer an entry into the everyday cultures of marginalized groups of women who have rarely been the focus of systematic analytical inquiry.

While Western medicine has conventionally separated music, science, and religion into distinct entities, traditional cultures throughout the world have always viewed music as a bridge that connects the physical with the spiritual. Now, as people in even the most technologically advanced nations across the globe struggle with obtaining affordable and reliable healthcare coverage, more and more people are turning to these ancient cultural practices of ICAM healing (integrative, complementary, and alternative medicine).
With Beyond the Roof of the World, Dr. Benjamin D. Koen unearths the Western separation of healing from spiritual and musical practices as a culturally determined phenomenon, and proves the relevance of medical ethnomusicology in light of the globally spreading ICAM healing practices. Using the culture found within the towering Pamir Mountains of Badakhshan Tajikistan, in a place poetically known as the Roof of the World, as the paradigm of ICAM healing, Koen shows spirituality and musicality to be intimately intertwined with one's physical life, health and healing. For the first time, Koen bridges the widespread gap between ethnomusicology and music therapy. Koen's extensive research and emersion into the Badakhstan culture provides the reader with an "insider" perspective while maintaining an "observer's" view, as he infuses the text with relevant scholarship.

With Fairport Convention and solo, Sandy Denny displayed one of contemporary music's finest voices; she also composed her own material, including "Who Knows Where The Time Goes"--a huge U.S. hit for Judy Collins--and sang on Led Zeppelin IV. However, Sandy tragically got caught in a spiral of drink and drugs and died at age 31 in 1978. Best-selling Dylan biographer Heylin draws on hours of new interviews to tell Sandy's story.