Sound Reporters

10/10/2024

On Friday 11-10-2024 there will be another Klankbron on the Concertzender about the relationship between the music culture of Borneo or Kalimantan and the mainland of Southeast Asia. The reason for making this Klankbron was the release of the LP "Gongs of the Bahnar - A buffalo sacrifice ceremony" end August of this year. It is an album recorded by Vincenzo Della Ratta in the mountainous region of central Vietnam. It is the successor to an earlier album that he made 6 years ago with recordings from Kalimantan, "Kwangkay Funerary Music of The Dayak Benuaq of Borneo" in which gong orchestras also play a prominent role. But we start with a number of older recordings. First with a music machine of 50 bamboo tubes, a carillon. The device stood near the rice fields, was powered by water and made sounds that please the spirits of the rice. It is a recording from the Sedang habitat in the mountainous region of central Vietnam and was made in 1955 by Frantz Laforest. It sounds just like the gong orchestras from the same area that also want to please the spirits.
Part 1 Borneo or Kalimantan
Then come a number of recordings from Borneo. First older recordings from the fifties. They are the first sound recordings that were made of various Dayak groups and of the Bajau, the sea nomads. These recordings were made by the French Pierre Ivanoff and Guy Pazzini and by the Englishman Ivan Polunin who lived in Singapore. You hear bamboo trumpets, gongs, drums, a musical bow, a zither, a lute, a mouth organ and the different singing styles in their context. The mouth organ is a musical instrument that in Indonesia only occurs among the Dayak in Borneo while it is a common musical instrument on the mainland of Southeast Asia. The gong orchestras are found in both Indonesia and the mainland of Southeast Asia, but there are indications that their origin, and therefore also the origin of the gamelan and its tuning, is from the mainland of Southeast Asia. At the end of this first part, you will hear two more pieces of music recorded by Vincenzo Della Ratta. They are funeral rituals of the Dayak Benuaq. First a short piece with a set of cymbals to announce the death of someone. Then a longer piece of singing with a gong orchestra intended to please the spirits of the deceased and to guide them to their destination. These recordings come from the same area in Borneo as the first two tracks with which this part begins.
Part 2 The mainland of South East Asia
In the second and third part of this Klankbron come pieces of music from the mainland of South East Asia, from the inhabitants of the mountainous region of Central Vietnam and the adjacent part of Cambodia. Again, gong orchestras, mouth organs and various string instruments. But more importantly, the sound of the music in Borneo and this region is similar. Moreover, the musical history of the region can be found in this mountainous region.
You will first hear a number of older recordings from the fifties and sixties. It starts with a medley of played by a number of gongs and a drum. It is followed by two mouth organ melodies which basically are the same as the melodies of the gong orchestras.
Lithophone
Then you will hear a lithophone, a set of 3000-year-old sounding stones that were excavated in 1949 in the Mnong Gar residential area of Central Vietnam. The renown Dutch ethnomusicologist Jaap Kunst said that this lithophone was the origin of the gamelan in terms of tuning. The piece was played and composed by Jean Schwarz in the Musée de l’Homme in Paris. The museum where the instrument was brought after the excavations with the permission of the Mnong Gar. The composition is inspired by the gong orchestras of the Mnong Gar.
Georges Condominas
These are recordings by Georges Condominas, a French Vietnamese anthropologist who did his first research with the Mnong Gar and is responsible for the fame of the gong orchestras through his many publications. He also extensively described the buffalo ritual.
It is followed by a recent recording of a piece of music on bamboo tubes of different lengths that are played by clapping in front of the opening of the tubes. It shows that bamboo, like stones, could be used to make the same kind of music as the gong orchestras before people had access to metal musical instruments.
Buffalo Ritual
The Klankbron ends with a number of tracks from the Bahnar and their buffalo ritual. It is a widespread multi-day ceremony in which a buffalo is sacrificed as a thank you to the spirits and to appease them. The gong orchestra plays an important role because their sound can summon the spirits and make it possible to communicate with them. You will hear parts of the morning ceremony and the night ceremony.

https://www.concertzender.nl/programma/de_klankbron_790740/

18/09/2024

Luigi Nono on Arte. A documentary that can be seen till december. In German, English, Italiano, Espanol and Polski. A tip of Erwin Roebroeks waarvoor dank.
https://www.arte.tv/de/videos/112206-000-A/luigi-nono-der-klang-der-utopie/?fbclid=IwY2xjawFXYztleHRuA2FlbQIxMQABHWrIVWajmqR821bwH-cdvbP40HMWbJuCbP60OFBtSbXaki4Usp2p-Ptq-w_aem_Y21caO9yfv8MGui9FBE8DQ

Das Leben des Komponisten Luigi Nono (1924 - 1990) ist die Geschichte eines leidenschaftlichen Kämpfers für eine bessere Welt, eines Suchenden nach neuen Klangmöglichkeiten und eines Venezianers mit Leib und Seele. Die Dokumentatoin zeichnet die Lebenslinien von Nonos Biografie nach.

12/09/2024

'Dear people

Friday September 13, 2024 at 9:00 PM CET it is time again for the Klankbron and your monthly hour of musical relaxation. The broadcast is this time titled the voice of Europe. It contains 17 songs from various European countries. That are not even half of the number of countries in Europe, but it does provide a nice overview of the various music cultures that can be found in Europe.
The Klankbron starts with a song from Sardinia in Italy sung by the Bitti choir with a four-part song in which one voice sings the text and three other voices accompany with various meaningless vowels. Then comes a song by Oldřich Janota and Mozart K from the Czech Republic. A song, Zářivý úplněk, about the bright full moon with a striking and prominent harmonium accompaniment. That is followed by John Barleycorn must die sung and accompanied on guitar by Steve Winwood from England. Steve Winwood was part of the band Traffic who had success with this song in 1970, but the song dates back at least to the 15th century if not earlier. This version was recorded in 2023. Then comes the Fandango de los Reyes from the Reyes family from Spain and France. Then the song What have Ianina's eyes seen? by an Albanian male group from Vlorë with another exceptional form of polyphony. It is followed by Miroloi, a song by a music ensemble from Epirus in Greece and lastly from the first part of this Klankbron Deljoe became a haidoek, a resistance fighter, by the Bulgarian singer Valja Balkanska.
The second part begins with a harp song Seoladh Na Ngamhna by Mary O'Hara in the original Celtic language of Ireland. It is followed by a melody from the national Finnish epic Kalevala played on the kantele, a zither. Then comes a fado Our Street sung by Maria Teresa de Noronka from Lisbon in Portugal. It is followed by a Hungarian lament, Why Did My Mother Have to Die by the group Kalyi Jag. Then comes an unhappy love song, Vaquí lo polit mes de mai, from Marseille in France by the group Gacha Empega. It is followed by a song about two young oxen by the Austrian family group Der Hinterglemmer Dreigesang with another special form of polyphony. Then comes a song to call the rain from Macedonia. Then a song sung by women washing clothes in the New Hebrides in Scotland. It is sung in Gaelic, the Celtic language that survived in this part of Scotland. The second part concludes with the unforgettable Schoon ver van jou by George de Fretes and his Krontjong orchestra & Suara Istana from the Netherlands. As the last song of Kankbron you will hear a number of Jüüzli's, yodel songs from Switzerland recorded by anthropologist Hugo Zemp.

https://www.concertzender.nl/programma/de_klankbron_786629/

04/09/2024

While looking for yeti in the mountains of Kyrgyzstan I've met this chaban named Adylbek. He was having fun whistling to the trees and rocks and listening to the echoes.

Adylbek Samiybekov (b.1994) is a chaban and lives in the village Kök Döbö next to Yssyk-Kul lake (Kyrgyzstan). The summer months he spends up in the mountain...

07/08/2024

Dear all,
On Friday, August 9, there will be again a new Klankbron at 9:00 PM CET on the Concertzender. As always you can listen to it afterwards for the digital eternity to the link below. This time it will be a Klankbron on the music that accompanies sports and games including voice games. The Klankbron will start with a Mongolian instrumental melody played on an ikkel, a two-string fiddle. A piece that reminds people of horse races. This is followed by a Mongolian praise song for an archer at a tournament. Then comes a Mongolian song with which trainers praise and recommend their wrestlers for a match. It is followed by another Mongolian instrumental violin melody, now played on a morin khuur, the horse fiddle, in which the gait of a horse is imitated. Then comes a Japanese song with singing and a shamisen, a lute. The song comes from a play about a prize fighter who, due to lack of money, has sold the victory to his upcoming opponent. It is a recording that was released in 1931 in what you could call the first world music album Music of the Orient, compiled by Erich Hornborstel, then the director of the Phonogramm archive in Berlin, which he had to abandon two years later due to the government overtake of Germany by the N***s. This is followed by a recording from Burma with a song for an archer in a tournament. The same song was also played when the royal army went to battle. The line between sport and combat is quite thin and it often goes from sport into war. This also applies to the musical instruments. The oboe, shawm or a similar loud instrument usually plays the leading role in battle and sports music. The recording from Burma is made by Jacques Brunet who also made a recording of music for Pencak Silat, an Indonesian form of martial arts in Java, in Bandung. That is the next recording. Then comes a boxing and war song from Cambodia. The sports block ends with a recording from Ladakh or Little Tibet in India, of music for a Polo game. A recording by Peter Crossley-Holland in which a sorna, a shawm, plays a leading role. It is an instrument with a long history and was certainly played already in a Persian environment 3000 years ago. The following games block starts with four voice games from the Inuit, usually involving two women sitting opposite each other and dueling with voice sounds. Then a song by the Cree Indians from Canada about a hand game in which the opponent has to guess in which hand they have a small bone. Every time the opponent is wrong you win and after winning ten times you have won the game and then you get or lose the stake. It is followed by another vocal game by the Bibayak from Gabon in which it goes about which woman sings best. You will hear two of their voice plays. This games part ends with the Japanese piece Nasori for the victors of sports and games. It is part of the Gagaku, the music of the imperial court, and it is a dragon dance in which a male and female dragon dance together. This Klankbron ends with a Burmese harp song by mother Ma Cho Mu Winn and daughter Saung Mu Mu Thein who wish everyone success and prosperity.
https://www.concertzender.nl/programma/de_klankbron_780598/

20/07/2024

Nico and the Velvet Underground
All tomorrow's parties
https://www.youtube.com/watch?v=M88Ca91hTWs
What goes on
https://www.youtube.com/watch?v=kym3xgrEISA
Venus in Furs
https://www.youtube.com/watch?v=Zy3WzlrWSlo
Sunday Morning
https://www.youtube.com/watch?v=pnGoIF5N_-Y
Femme Fatale
https://www.youtube.com/watch?v=svYqI1PvcpM
I'll be your mirror
https://www.youtube.com/watch?v=ZudHYTya-dQ
No one is there
https://www.youtube.com/watch?v=BQtmVUbQhYw
Reich der Träume
https://www.youtube.com/watch?v=3SR2VwE47r0
Abschied
https://www.youtube.com/watch?v=pvxWV1fDbZM

La Cicatrice Intérieure (1972) dir. Philippe Garrel

10/07/2024

Dear People,

Klankbron 103 The Ainu
On Friday, July 12, 2024, there will be another Klankbron on the Concertzender. This time a program on the Ainu, a people living in Hokkaido in Japan and until recently also in Sakhalin, Kamchatka and the Kuril Islands, which are now part of Russia. There are still a few hundred descendants living there, but the language has been extinct in Russia since the 1980s due to relentless oppression. In Japan the language is also endangered, but a revival has been taking place since the beginning of this century. Since then, the Ainu, their language and culture have gained a degree of recognition.
The Klankbron starts with a few archive recordings. First a love song from 1957 from the collection of Indiana University in the United States. Then follows another archive recording made by Japanese Radio and recorded on recordable plates in Sakhalin. They are copies of a record that was in the possession of the Belgian ethnomusicologist Paul Collaer, a copy of which is now in the collection of the “Centre de Recherche en Ethnomusicologie” in Paris. It creaks and ticks, but these are rare recordings, so please be patient for a few minutes and try to hear the special music. They are a dance song, a few unfortunately now disappeared Rekukara songs, songs that can be compared to the Inuit throat singing songs. Furthermore, a mouth harp and a Tonkori, an Ainu zither, solo. This is followed by six songs from the LP Ainu songs published by Philips in the UNESCO musical sources series. These are recordings from 1976 by the Japanese ethnomusicologist and head of the Hokkaido Ainu Culture Research Center Kazuyuki Tanimoto and the Canadian Jean-Jacques Nattiez. They are three Upopos, sitting songs with a ritual context, a dance song from the bear festival, a longer shamanic song sung by a woman from Sakhalin and a lullaby with a striking rolling r that is seen by the Ainu but also by many others cultures as a sign of beauty.
Since the beginning of this century, there has been a re-emergence of the Ainu music culture, with the central figure of Tonkori player Oki Kano, who started as a reggae and dub musician but has increasingly developed into an interpreter of the Ainu tradition and producer of Ainu releases. You will now hear two songs by the late singer Umeko Ando, who started out as a traditional singer but worked with Oki Kano and experimented with adding new sounds such as overtone singing or instruments from Central Asia. You will first hear a dance song and then an upopo. It is followed by six songs by the group Marewrew, a group of four women who mainly sing upopos, in this case a rowing song, an ice dance song, a song about the snow falling from a tree, a dance song, a song about killing a whale and a traditional song about the bear ceremony, which is the most important ritual of the Ainu, with a more experimental musical accompaniment. You can hear from Marewrew's way of singing that they are strongly influenced by the music school, i.e. Western standards of voice formation. Until the end of the broadcast, you can still listen to a song by Umeko Ando, Iuta Upopo, the song of the pestle, with Tonkori player and producer Onki Kano and two members of Marewrew as background singers.
https://www.concertzender.nl/programma/de_klankbron_775623/

12/06/2024

Francoise Hardy L'amour s'en va
https://www.youtube.com/watch?v=FJ1veIqBi7A
et Mon amie la rose
https://www.youtube.com/watch?v=2ICFtXx546A

Invitée de l'émission Carrefour le 27 mars 1965, la chanteuse yéyé Françoise Hardy interprète une chanson écrite par Cécile Caulier, mise en musique sur un b...

07/06/2024

Dear all,
On Friday 14-6-2024 there is another Klankbron on the Concertzender at 9:00 PM. A Klankbron on the Thai Lue, the inhabitants of the upper reaches of the Mekong in Sipsongpanna and the adjacent parts of Burma, Thailand and Laos. Sipsongpanna was independent until the 1950s but was then it was occupied by the Chinese Red Army and has been part of China ever since. The Thai Lue share their music culture and language with the Thai Yong and the Kalom. The name Yong refers to the city and region of the same name in Burma and Kalom is a name also used for the Thai Lue in Laos. As early as the 19th century, some of the Thai Yong were forcibly removed from Burma and forced to live and work as serfs in Lamphun in Northern Thailand. The Lue also later spread across Northern Laos and Northern Thailand.
The Klankbron begins with a song by the Yong that was recorded in Chieng Kok, a port town along the Mekong in Laos. It immediately indicates the essence of the Kap Lue style, speaking singing accompanied by a free reed wind instrument consisting of one tube. The instrument is named Pii with any additions indicating its size. It is followed by a longer Thai Lue song from Laos, from Ban Pong in Bokeo province, which tells listeners not to forget what has happened in recent history. The length of 10 minutes is still short compared to the usual stories that can easily last one or more hours. You will hear fragments of this later in the broadcast. Then follows a song from Sipsongpanna, from the Meung Hing region, also known as the Pu-En tea region, and it is a song about the spirit of that region. That is followed by a song about an orphan from Luang Prabang in Laos. The recording is from a Thai Lue village, Ban Hat Kho, where the former court musicians of the King of Laos live. They still play the old style of Kap Lue where the accompaniment is provided by two free reed wind instruments. It is a recording from 1998 and is followed by a recording of the same style from 2022 made in the town of Meung Ngen in the neighboring province of Xayabouri. It's a song about local events and progress in this town. This first part of the Klankbron concludes with a song from North Thailand in the there popular Saw style, accompanied by three free reed wind instruments and a lute. It is a song about the famous monk Khruba Sri Wichai that after 6:30 minutes changes into another melody and text and then talks about how to pray and get a pure heart. The female singer comes from Phrao and is one of the traditional inhabitants of Lanna, North Thailand. The male singer is a Thai Yong from Lamphun.
In the second part of this broadcast, you will hear a number of songs that can be found on YouTube. That medium has also been discovered as a means of publication by more traditional musicians. The songs are often less well recorded, sometimes even downright bad, but you will not hear that in this Klankbron. It is striking that they do not shy away from longer songs, such as the following song in which the accompaniment is provided by a guitar and which lasts more than an hour. It is a fragment of a song in which the man and woman sing one after the other and tease each other in poetic formulations with a rhyme scheme. It is followed by a song from Sipsongpanna with the accompaniment of a fiddle. Then comes a forest song, a genre that is usually sung outside, often in the forest, without any accompaniment. That is also a fragment of a song that lasts almost an hour. We conclude this part with a song against Yaa Baa, methamphetamine, an extremely addictive drug, which is produced on a large scale in the Shan states of Burma and is now available cheaply throughout continental South East Asia and also across the border in China. It has already caused many casualties. All these YouTube songs come from Sipsongpanna in China. Until the end of the broadcast, you can still listen to a Thai Lue song from Laos with a small audience and their usual cheers.

https://www.concertzender.nl/programma/de_klankbron_770564/

09/05/2024

Klankbron 101 The islands of Mindanao and Palawan of the Philippines

Tomorrow, Friday, May 10, 2024, at 21:00 hours CET there will be a Klankbron on the concertzender and afterwards in digital eternity about the music of the islands of Mindanao and Palawan in the Philippines. They are the two large southern islands of that country and they have many similarities with nearby Malaysia and Indonesia. In terms of music, this concerns the boat lute and gong orchestras that are called kolintang in Mindanao and are reminiscent of the gamelan orchestras in Indonesia. But the Klankbron starts with boot lutes in this case a faglung or from the Ubo from Mindanao. The instrument is called a boat lute because the lute is shaped like a boat. It has also been compared to a crocodile and the maker of the recording you hear first, Hans Brandeis, refers to the instrument as a singing crocodile. Hans Brandeis is a German ethnomusicologist who has studied this instrument in the Philippines for years and has also published extensively about it. He is a driving force behind the Boat Lutes of the Philippines society and many of his videos can be found on Facebook and YouTube.
As the next recording of this instrument, you will hear a track from the recommended CD Utom Summoning the Spirit, Music in the T'Boli Heartland, a CD recorded and produced by Manolete Mora. It is an instrumental piece by the lute player Bendaly Layul and is about a woodpecker. It is followed by a song from Palawan about a clucking chicken. It is accompanied by a lute and a bamboo zither and is taken from the CD Musiques des Hautes-Terres Palawan recorded by Jose Maceda, Nicole Revel and Charles Macdonald. Then follows another song from Palawan, now with 2 lutes and a bamboo zither. It also comes from a video by Hans Brandeis. It is followed by two Bamboo zither solo pieces from the CD Utom. Then a lute-zither song from Palawan and this boat lute part ends with a rocking solo by Lowan L. Saway.
The second part of this sound source is about drums and gongs. It starts with women pounding rice who thus play a piece of music. This is followed by a solo on the 5 large gongs of the T'Boli by Danilo Kasaw and it reproduces the sound of the wind. Both are recordings by Manolete Mora and come from the CD Utom. Then follow a number of Kolintang pieces. The first two of these also come from the CD Utom. The following five pieces are from the LPs Muranoa Kakolintang: Philippine Gong Music from Lanao 1 and 2. The main soloist on the gongs is always a woman, even though they are rhythms related to Islam. These are recordings by Steven W. Otto and the style and meaning of each song is indicated. It varies from specific regions such as the Sulu archipelago or a creative rhythm invented by a woman who wanted the neighbors to intervene in an argument with her husband to wandering or being alone, a cricket or a new combination of old and new playing styles. That part ends with the celebration of Indigenous Peoples' Month through a dance by Aljun Cayawan. He is the Datu agong and Babaylan or shaman of the Manobo Agusanon. As the last song you will hear the lute player Datu Alobo Bago and the blind singer and the bamboo zither player Bae Bulaw who sing about what is happening to the young people nowadays.

https://www.concertzender.nl/programma/de_klankbron_764443/

19/04/2024

Tomorrow in Amsterdam Music from Suriname an interesting, diverse and unusual program.

11/04/2024

Dear all
On Friday, April 12, 2024, there will be the 100th broadcast of the Klankbron on the Concertzender. It is a retrospective on the sound history of this program. The first Klankbron on the Concertzender was on April 24, 2015. It was preceded by an alike broadcast on April 23, 2014 in the Inventions for Radio program by Martijn Comes. The Klankbron is a program dedicated to the barely heard music of indigenous peoples worldwide. It is mostly traditional music with a long history, but at the same time it is a music and soundscape full of exceptional musical novelties, instruments, inventions and sounds. It is a source of inspiration for avant garde musicians and modern composers but it is made by ordinary people whose sound creativity is not extinguished by rules of schools and states or profits of companies. This music often has deep religious, spiritual and general human meanings. Moreover, there are no sharp boundaries between the sounds that humans make and those of other beings and phenomena, nor rules about what are and are not musical sounds.
Fred Gales, the compiler of the Klankbron, had previously made radio programs for the VPRO, the BOS and other Dutch public broadcasters. With the Klankbron he started with a new sound world in which the sound-generating principles and actions are systematically explored as the materials used for them and their varying symbolic meanings.
The retrospective begins with an instrumental welcome song on a steel mouth organ by the Hmong player Wangju Sema from the Nan province in Thailand. Followed by a recording by Louis Sarno of the ba-Aka in the Central African Republic in which a group of 5 women sing while walking in the forest and in which one can also listen to the special acoustics of the rainforest. Then an Akha song from Laos in which a young woman and young man sing about leaving the mountains, which is often imposed by the Laotian state to better control the people. This is followed by a Lahu instrumental piece on a mouth organ from Northern Thailand, recorded on the village square among a group of curious children. This is followed by a solo song by a Khammu lady from Laos with a special singing style about the suffering in the big city. Then comes a recording by the Franciscan Alfons van Nunen from 1957 from what was then Dutch New Guinea. It is a song of the Moni in the Central Mountain area. Then, at the end of this first block, is an old song of Demta recorded by the linguist J.C. Anceaux in the late 1950s in the village of Demta along the north coast of New Guinea not far from Hollandia, now Jayapura.
On the web page of this program, you can check who the performers are, if known, and where, when and by whom they were recorded. Furthermore, in which broadcasts or publications they can be found and since all Klankbron broadcasts are still listenable, you can also listen to them in context.
The second block starts with a song about the refugee escape route of the Kayoh from Kayah state in Burma to Thailand. This song was recorded in 1993 and had to do with the disastrous situation in Burma after the failed uprising against the military rulers in 1988. Since the military coup in 2021, the same misery is prevailing there again. In fact, since Burma's independence in 1948, there has been continuous war in large parts of the country, especially in Kayah state. It is followed by a song of the Khammu from Luang Nam Tha in Laos accompanied by a mouth organ. It is a teum song and recorded during a party with rice wine. This is followed by a love song from the Thai Dam in Laos accompanied by a pii, a free reed wind instrument consisting of a single tube with finger holes that reproduces all the melody inflections of the song. Then this second part concludes with a song by the bard Wat Mon accompanied by a Nanga, small zither, and a gourd drum of the Acholi from Uganda.
In the third and final block you can listen to the mouth organ of Nai Hua from Doi Inthanon in Thailand. He plays a song on this instrument - with which the Hmong can also convey linguistic messages - about how far away the family lives. Which is also symbolic of the deceased family members and is used to make the spirits of the dead resign themselves to their fate.
https://www.concertzender.nl/programma/de_klankbron_760270/

09/04/2024

07/03/2024

Dear People
Tomorrow, Friday March 8, 2024 at 9:00 PM CET the Klankbron will be on the Concertzender with part 2 of the music of the indigenous people of Taiwan. This broadcast begins with the first recordings made of these people in 1943 by the Japanese ethnomusicologists Takatomo Kurosawa and Genjiro Masu in collaboration with audio recording specialist Yamagata Takayasu of the Japanese Victor record company. The recordings were pressed at the end of 1943 on a set of 26 78 rpm records. One set survived the war at Kurosawa's home, while the original recordings and the films that were also made were destroyed during and because of the war. In 1951 Masu and Kurosawa sent a selection of 12 78 rpm records to UNESCO and the International Council for Folk Music. Through these organizations the recordings came known to people such as Arnold Bake, Jaap Kunst, Alan Lomax and André Schaeffner, who not only recognized the special nature of the recordings but also wrote highly about them. Constatin Brailoiu of the World Collection of Recorded Folk Music in Geneva published six pieces on a 78-rpm record in the early 1950s under the title Takasago Formosans. These were records that were mainly distributed to radio stations, museums and music organizations. Brailoiu described the song, Pasi but but, as special with a never-before-heard musical form in which the growing of the millet was expressed. You heard already a modern Bunun version at the beginning of part 1 of Taiwan last month and now you can hear the recording of Kurosawa and Masu as the second track of the broadcast. It is followed by another 10 recordings from 1943, a song by a female shaman, a piece of a musical arc to which Kurosawa attributed the origin of the pentatonic scale. Then follow by a nose flute tune from the Rukai, a head-hunting song from the Tsou, a rain making song, a rice planting song both from the Puyuma and a mouth harp piece from the Ayatal. This is followed by a song of a female shaman who prays to the sun and moon, a dance song after an initiation rite and a welcome song by the Ami. Then we move on to recordings from the eighties. Three recordings by the Taiwanese musician and ethnomusicologist Cheng Shui-Cheng. A song to celebrate a birth, a song in which the first name is announced for the first time and a song of gratitude for the visits and gifts from the Puyuma. Then 4 recordings by the Taiwanese composer and ethnomusicologist Hsu Tsang-Houei. They are a song while cutting the grass of the Ami, a song about returning to the harbor with a boat full of fish of the Yami, a song in which people salute each other of the Ayatal and a love song of the Ami. This is followed by 8 more recordings of their student Wu Rung-shun from the 1990s. In the first part of this diptych, you already heard recordings of him from the Bunun, the Amis, the Yami and the Puyuma. This time it are recordings from the Atayal, the Paiwan and the Rukai. A song of thanksgiving for the millet harvest, normally sung solo before the graves of the ancestors, but now - an innovation - with a second voice for support. It is followed by a traditional dance song both are of the Ayatal. Then a song by a female shaman treating a patient, followed by a song of memories with a partly improvised text. Furthermore, a satirical song about a daughter who complains about an unhappy marriage while her parents know nothing about it and a song about proud female confessions, all from the Paiwan. It is followed by three Rukai songs, a welcome song, a lament for the family of a leader whose mother has died and a love song. This Klankbron ends with a farewell song of the Paiwan, also recorded by Wu Rung-shun.

https://www.concertzender.nl/programma/de_klankbron_755222/