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      • The Arts

        The Flute in Tango / La Flauta en el Tango

        Fundamental method for playing tango music

        by Paulina Fain

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina. This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS» Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar.» All the tools and techniques for playing tango music are covered throughout specific chapters and exercises.» 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert.» Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE FLUTE IN TANGO CONTENTS» Expressive melody. The art of fraseo, the authentic shaping of the expressive melodies.» Rhythmic melody. The performance of rhythmic melodies and the articulation specific to tango.» Use of ornaments and extended techniques applied to tango, guidelines to playing in a tango ensemble, the history of the flute in tango, the different styles of the genre and more.» 5 original works for flute and piano.» 105 audio examples.

      • The Arts

        The Piano in Tango / El Piano en el Tango

        Fundamental method for playing tango music

        by Hernán Possetti

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina. This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS » Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises. » 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert. » Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE PIANO IN TANGO CONTENTS » Rhythmic melody. Articulation as a fundamental constituent element of the tango language. » Expressive melody. Fraseo as an essential resource for expressiveness. » Time-marking models. The piano as a support for the melodic discourse. » Different functions. The conductor role and other responsibilities undertaken by the pianist. » Milonga and vals, ornaments, guidelines to play in a tango ensemble, the history of the piano in tango, the different styles of the genre, and more. » 7 original works for piano. » 280 audio and video examples.

      • The Arts

        The Bass in Tango / El Contrabajo en el Tango

        Fundamental method for playing tango music

        by Ignacio Varchausky

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina. This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS» Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises. » 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert. » Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE BASS IN TANGO CONTENTS » Time-marking models. The role of the bass as part of the rhythmic base. Marcato, pizzicato, and other typical articulations used in tango. » Bass lines. Characteristic devices used to create bass lines and perform them spontaneously. » Rhythmic melody. Articulation as a fundamental constituent element of the tango language. » Expressive melody. Fraseo as an essential device for expressiveness. » Milonga and vals, the use of percussive effects, guidelines to play in a tango ensemble, the history of the bass in tango, the different styles of the genre. » 6 original works for ensemble. » 250 audio and video examples.

      • The Arts

        The Guitar in Tango / La Guitarra en el Tango

        Fundamental method for playing tango music

        by Sebastián Henríquez

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina.This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS» Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises. » 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert. » Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE GUITAR IN TANGO CONTENTS » Rhythmic melody. Different ways to articulate and accentuate a rhythmic melody in tango. » Expressive melody. Fraseo and ornamentation as essential expressive devices. » Milonga and vals, connecting passages, guidelines for playing in a tango ensemble, the history of the guitar in tango, tango orchestra styles, and more. » 8 original works for guitar and ensemble. » 350 audio & video tracks.

      • The Arts

        The Bandoneon in Tango / El Bandoneón en el Tango

        Fundamental method for playing tango music

        by Eva Wolff

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina. This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS » Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises. » 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert. » Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE BANDONEON IN TANGO CONTENTS » Rhythmic melody. Different ways to articulate and accentuate a rhythmic tango melody. » Expressive melody. Fraseo as a fundamental constituent element of the tango language. » Time-marking models. The role of the bandoneon as part of the rhythmic base. » Ornaments and variations. Melodic embellishments and their use. » Milonga and vals, the use of percussive effects, guidelines to play in a tango ensemble, the history of the bandoneon in tango, the different styles of the genre. » 7 original works for ensemble. » 350 audio examples.

      • The Arts
        2010

        Die flote im Tango / Le flute dans le Tango

        Grundlegende schule des tangospiels

        by Paulina Fain

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina. This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS » Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises. » 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert. » Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE FLUTE IN TANGO CONTENTS » Expressive melody. The art of fraseo, the authentic shaping of the expressive melodies. » Rhythmic melody. The performance of rhythmic melodies and the articulation specific to tango. » Use of ornaments and extended techniques applied to tango, guidelines to playing in a tango ensemble, the history of the flute in tango, the different styles of the genre and more. » 5 original works for flute and piano. » 105 audio examples.

      • The Arts
        2011

        Die Violine im Tango / Le violon dans le Tango

        Grundlegende schule des tangospiels

        by Ramiro Gallo

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina.This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS» Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises.» 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert.» Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE VIOLIN IN TANGO CONTENTS» Rhythmic melody. Different ways to articulate and accentuate a rhythmic tango melody.» Expressive melody. The art of phrasing, the tools to express tango music.» The rhythmic base. The typical marking models and the role of the violin as a part of the rhythmic base.» The use of ornaments and percussion effects, guidelines to play in a tango ensemble, the history of the violin in tango, the different styles of the genre.» 7 original works for violin and other instruments.» 130 audio and video examples.

      • World music

        Ways of Voice

        Vocal Striving and Moral Contestation in North India and Beyond

        by Rahaim, Matthew

      • World music

        Seeding the Tradition

        Musical Creativity in Southern Vietnam

        by Cannon, Alexander M.

      • World music

        Seeding the Tradition

        Musical Creativity in Southern Vietnam

        by Cannon, Alexander M.

      • World music

        Ways of Voice

        Vocal Striving and Moral Contestation in North India and Beyond

        by Rahaim, Matthew

      • World music
        April 2024

        Sounds of Other Shores

        The Musical Poetics of Identity on Kenya's Swahili Coast

        by Eisenberg, Andrew J.

        Sounds of Other Shores takes an ethnographic ear to the history of transoceanic stylistic appropriation in the Swahili taarab music of the Kenyan coast. Swahili taarab, a form of sung poetry that emerged as East Africa's first mass-mediated popular music in the 1930s, is a famously cosmopolitan form, rich in audible influences from across the Indian Ocean. But the variants of the genre that emerged in the Kenyan coastal city of Mombasa during the twentieth century feature particularly dramatic, even flamboyant, appropriations of Indian and Arab sonic gestures and styles. Combining oral history, interpretive ethnography, and musical analysis, Sounds of Other Shores explores how Swahili-speaking Muslims in twentieth-century Mombasa derived pleasure and meaning from acts of transoceanic musical appropriation, arguing that these acts served as ways of reflecting on and mediating the complexities and contradictions associated with being "Swahili" in colonial and postcolonial Kenya. The result is a musical anthropology of Kenyan Swahili subjectivity that reframes longstanding questions about Swahili identity while contributing to broader discussions about identity and citizenship in Africa and the Indian Ocean world.

      • World music
        April 2024

        Sounds of Other Shores

        The Musical Poetics of Identity on Kenya's Swahili Coast

        by Eisenberg, Andrew J.

        Sounds of Other Shores takes an ethnographic ear to the history of transoceanic stylistic appropriation in the Swahili taarab music of the Kenyan coast. Swahili taarab, a form of sung poetry that emerged as East Africa's first mass-mediated popular music in the 1930s, is a famously cosmopolitan form, rich in audible influences from across the Indian Ocean. But the variants of the genre that emerged in the Kenyan coastal city of Mombasa during the twentieth century feature particularly dramatic, even flamboyant, appropriations of Indian and Arab sonic gestures and styles. Combining oral history, interpretive ethnography, and musical analysis, Sounds of Other Shores explores how Swahili-speaking Muslims in twentieth-century Mombasa derived pleasure and meaning from acts of transoceanic musical appropriation, arguing that these acts served as ways of reflecting on and mediating the complexities and contradictions associated with being "Swahili" in colonial and postcolonial Kenya. The result is a musical anthropology of Kenyan Swahili subjectivity that reframes longstanding questions about Swahili identity while contributing to broader discussions about identity and citizenship in Africa and the Indian Ocean world.

      • Music recording & reproduction

        Wired for Sound

        Engineering and Technologies in Sonic Cultures

        by Paul D. Greene

        Wired for Sound is the first anthology to address the role of sound engineering technologies in the shaping of contemporary global music. Wired sound is at the basis of digital audio editing, multi-track recording, and other studio practices that have powerfully impacted the world's music. Distinctions between musicians and engineers increasingly blur, making it possible for people around the globe to imagine new sounds and construct new musical aesthetics.;This collection of 11 essays employs primarily ethnographical, but also historical and psychological, approaches to examine a range of new, technology-intensive musics and musical practices such as: fusions of Indian film-song rhythms, heavy metal, and gamelan in Jakarta; urban Nepali pop which juxtaposes heavy metal, Tibetan Buddhist ritual chant, rap, and Himalayan folksongs; collaborations between Australian aboriginals and sound engineers; the production of "heaviness" in heavy metal music; and the production of the "Austin sound." This anthology is must reading for anyone interested in the global character of contemporary music technology.

      • Percussion instruments
        November 2007

        Kpatsa from Ghana

        by Trevor Wiggins

        African Drumming Workshop: Kpatsa from Ghana Use this enhanced ebook to learn to play Kpatsa, one of the easier pieces from West Africa, using hand drums like Djembe. You will discover how to play a drum to get different sounds, what the rhythms are, and how they fit together. The ebook contains a recording and video of performances in Ghana – so you can see the dance as well. There are also practice recording tracks linked to notation to show you exactly what you have to do.

      • Percussion instruments
        November 2007

        Ageshe from Ghana

        by Trevor Wiggins

        African Drumming Workshop This enhanced ebook gives all you need to learn how to play AGESHE, which is one of the most difficult and exciting drum pieces of the Ewe people of south-east Ghana, played using both hand and stick drumming techniques. You will discover how to play the drum parts, both supporting and lead, what the rhythms are, and how they fit together. The disk contains practice recording tracks, with computer generated sound files linked to notation, showing exactly what you have to do. To give a flavour of the authentic music and dance, there is an audio recording and a video of a performance by young people in Ghana.

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