For example, it means trochee in Sanskrit prosody. According to David Nelson — an Ethnomusicology scholar specializing in Carnatic music, a tala in Indian music covers "the whole subject of musical meter".
The tala forms the metrical structure that repeats, in a cyclical harmony, from the start to end of any particular song or dance segment, making it conceptually analogous to meters in Western music. For example, some talas are much longer than any classical Western meter, such as a framework based on 29 beats whose cycle takes about 45 seconds to complete when performed. Another sophistication in talas is the lack of "strong, weak" beat composition typical of the traditional European meter.
In classical Indian traditions, the tala is not restricted to permutations of strong and weak beats, but its flexibility permits the accent of a beat to be decided by the shape of musical phrase. A tala measures musical time in Indian music. However, it does not imply a regular repeating accent pattern, instead its hierarchical arrangement depends on how the musical piece is supposed to be performed. Each tala has subunits. In other words, the larger cyclic tala pattern has embedded smaller cyclic patterns, and both of these rhythmic patterns provide the musician and the audience to experience the play of harmonious and discordant patterns at two planes.
A musician can choose to intentionally challenge a pattern at the subunit level by contradicting the tala , explore the pattern in exciting ways, then bring the music and audience experience back to the fundamental pattern of cyclical beats. The tala as the time cycle, and the raga as the melodic framework, are the two foundational elements of classical Indian music.
The basic rhythmic phrase of a tala when rendered on a percussive instrument such as tabla is called a theka. Both raga and tala are open frameworks for creativity and allow theoretically infinite number of possibilities, however, the tradition considers talas as basic.
The roots of tala and music in ancient India are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, instrumental music vadya , vocal music gita and dance nrtta.
The Samaveda is organized into two formats. One part is based on the musical meter, another by the aim of the rituals. These markings identify which units are to be sung in a single breath, each unit based on multiples of one eighth.
The hymns of Samaveda contain melodic content, form, rhythm and metric organization. The Rigveda embeds the musical meter too, without the kind of elaboration found in the Samaveda.
For example, the Gayatri mantra contains three metric lines of exactly eight syllables, with an embedded ternary rhythm. According to Lewis Rowell — a professor of Music specializing on classical Indian music, the need and impulse to develop mathematically precise musical meters in the Vedic era may have been driven by the Indian use of oral tradition for transmitting vast amounts of Vedic literature.
Deeply and systematically embedded structure and meters may have enabled the ancient Indians a means to detect and correct any errors of memory or oral transmission from one person or generation to the next. Formatting aside, the album itself is something of a head-in-the-clouds, feet-on-the-floor treat. It features the Kiwi producer working with a range of collaborators - Tony Laing of Fat Freddy's Drop and regular studio buddy Mara TK included - to serve up intoxicating cuts that brilliantly fuses reggae, dub and rocksteady rhythms with elements borrowed from disco, Afro-soul, Afro-funk, spiritual jazz and, more surprisingly, techno.
It's a hugely vibrant and entertaining set, offering a good balance between dancefloor vibrations and more laidback concoctions.
Ravissante Baby limited LP. Analog Africa Germany. In the years since, it has attained cult status, with collectors of Trinidadian music particularly enjoying its curious blend of bustling boogie electronics, Soca rhythms, traditional instrumentation and sassy disco-pop style.
As this tasty reissue proves, the album has lost none of its lustre over the last 30 years. Put simply, it still sounds ahead of its time, with intergalactic dancefloor workouts such as "Let's Make It Up" with its "we're gonna have a party" refrain and "Way Way Out" resonating particularly loudly.
A rare insight: while Lagos was churning out seminal Afrobeat compositions, Kenya took to western influences in a much subtler fashion. With heavy emphasis on the Kenyan benga and Afro-Cuban rumba there's a much deeper, local folk presentation and format throughout most of the selection. Complete with detailed notes and beautiful presentation like all Soundway compendiums this won't look out of place in any collection.
Moog Edits reissue LP 1 per customer. Thousand Finger Man 12". Celebration Suite 7". Flip it over and Gilberto Gil is on hand for a more mellow accompaniment in the shape of bossa samba standard "Maracatu Atomico," lifted from his album Viramundo. Comes as a yellow and green samba seven special! Jesus Boogie reissue 7" 1 per customer. This is the producer's first release of any sort for nearly five years and continues in a similar vein.
Sweatier flavours are provided on B-side cut "Cachaca", where he dubs out and tools up a punchy affair that boasts a killer horn part reminiscent of The Champs classic "Tequila". It features, in their words "a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name.
This time round, Dimitri From Paris is at the controls, offering up two arguably superior "Special Disco Mixes" that not only boasts more audio clarity around key instrumental parts particularly the horns, walking bassline and previously buried Clavinet lines but also add some fizzing new electrofunk synths.
As a result, the A-side vocal version sounds like a disco scene anthem in waiting, while the high-octane flipside dub is percussive, sweaty and full throttle in the best possible way. African Music 12". Amazing brass,flute and afrocentric rhythms lay the path for the track once heard never forgotten. On the flip first time ever on a 45 Pat Thomas who features on volume 1 of the series comes correct with possibly the best version and there are a few of ''Gyae Su''.
With its jangly african guitar licks and infectious chorus lines the feel good factor is set to maximum. Another dope afro burner on Mukatsuku and sure to sell out fast. Switch genre. Switch view. Bestsellers Charts. Show titles sold. Only show releases from this period. My filters. Type See all. Music See all. Format See all. Artist See all. Label See all. Tapos sabay-sabay naming tinikman ang pork binagoongan na isa pang bongga ang pagkakagawa. Festive ang dish dahil sa mga strips ng gulay at mga kulay nito.
There are those who cook dishes which are part of traditional fiesta celebration. They keep these dishes on the menu because they know these are what their visitors would expect to see on the table. They try to introduce something new and present them in a way that their guests would be lured to try these new food attractions. Your email address will not be published. This site uses Akismet to reduce spam. Learn how your comment data is processed. Related Articles.
And so to the remixes The package is spearheaded by the title track is "Hot Koki" ; a powerhouse of funk guitar, soul and infectious afro rhythms. First up on the remix treatment we take a sly trip to the NYC where white-hot talent J Kriv is on the edit tip.
JKriv aka Jason Kriveloff strips back thing back to the groove for destination dancefloor, a real treat. No trackbacks yet. Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public. Name required. Welcome visitor! Like my blog? Do leave a comment and subscribe!
Pages About. Top Create a free website or blog at WordPress. By continuing to use this website, you agree to their use.Maaga pa lang nasa Lipa na kami para sa grand fiesta parade na kung tawagin. Ginawa na namin ito last year – kumuha ng mga pictures, nakisaya, nakisigaw ng “kendi! kendi!” – pero ngayon lang kami namiyesta ng sama-sama. Bilang resident food blogger ng team, ako ang naka-toka na magsalaysay ng isang araw ng pagla-umay, haha.