Music from Cambodia

Cambodia’s music reaches from ancient Khmer court and ceremonial traditions to village ensembles, dance theater, a celebrated prewar popular era, and a resilient contemporary scene.

The music of Cambodia is derived both from traditions dating back to the ancient Khmer Empire and from the rapid Westernization of the popular music scene in modern times ... Cambodian Art music is highly influenced by ancient forms as well as Hindu forms. Religious dancing, many of which depict stories and ancient myths, are common. Some dances are accompanied by a pinpeat orchestra, which includes a ching (cymbal), roneat (bamboo xylophone), pai au (flute), sralai(oboe), chapey (bass banjo), gong (bronze gong), tro (fiddle), and various kinds of drums. Each movement the dancer makes refers to a specific idea, including abstract concepts like today (pointing a finger upwards). The 1950s saw a revival in classical dance, led by queen Sisowath Kossamak Nearyrath. 

Overview adapted from Wikipedia’s “Music of Cambodia” article.

This Khmer-language song offers an example of Cambodia’s melodic popular tradition and expressive vocal style.

This performance broadens the post’s view of Cambodian musical culture beyond the opening song.

This additional selection reflects the variety that continues across Cambodia’s traditional and popular musical life.

Done with the B's!

Just a couple of days ago I posted music from Burkina Faso, thereby finishing the B's. At this point, I need to decide to either continue alphabetically, or mix things up a bit moving from country to country as I see fit. While music doesn't necessarily interact with world events in all situations, I've found that discovering music from countries that are in the news (e.g. Sudan) provides a deeper connection with the human element.

Regardless of which way I go with this project, I love seeing the map fill up - note that the setup I have now is (hopefully) temporary, as I'm an amateur when it comes to getting Google Maps to work how I want it to.

Stay tuned!

Music from Burkina Faso

Burkina Faso’s music reflects the country’s many peoples and languages, with griot traditions, balafon, drums, string instruments, dance music, and modern popular styles all playing important roles.

Burkina Faso is home to some 60 different ethnic groups, each with their own variety of folk music. The country has produced very little popular music compared to its neighbors, which includes African musical giants like Nigeria and the Ivory Coast. Burkinabé traditional music, however, has continued to thrive in spite of the influx of popular styles, and the country's cultural, and musical, output remains quite diverse.

The national anthem of Burkina Faso is "Une Seule Nuit", written by Thomas Sankara. It has been the official anthem of the country since 1984, when Upper Volta became known as Burkina Faso. It remains even after Sankara was murdered in a coup, the leader of which remains in power.  

Overview adapted from Wikipedia’s “Music of Burkina Faso” article.

“Balaké” offers an example of Burkina Faso’s modern popular music, shaped by the country’s strong rhythmic and storytelling traditions.

This second performance broadens the view of Burkina Faso’s varied musical culture and performance traditions.

Music from Burma (Myanmar)

Traditional music from Burma is melodious, generally without harmony, and usually in 4/4 time (na-yi-se) or 2/4 (wa-let-se) or 8/16 (wa-let-a-myan). There are "the segments combined into patterns, combined into verses, combined into songs [that] make Burmese music a multileveled hierarchical system...The Burmese musician manipulates the various levels of the hierarchy to create the song..." (Becker 1969, p. 272) 

From Wikipedia

Music from Burundi

Burundi’s music is inseparable from rhythm, dance, and community ceremony, with the country’s royal drumming tradition standing alongside lyrical folk song and modern popular music.

Burundi is a Central African nation that is closely linked with Rwanda, geographically, historically and culturally. The drum such as the karyenda is one of central importance. Internationally, the country has produced the music group Royal Drummers of Burundi.

Burundian-Belgian musicians like Éric Baranyanka from the Burundese royal family, Ciza Muhirwa and, especially, Khadja Nin, have more recently gained prominence. Since the music is from the mind and soul, it mainly expresses what the people in Burundi feel and what they think when they beat the drums. One feature of Burundian men's folk songs is the inanga accompaniment [1].  

Overview adapted from Wikipedia’s “Music of Burundi” article.

This live performance foregrounds Burundi’s iconic ensemble drumming, where coordinated movement and thunderous interlocking rhythms form a single spectacle.

Burundian singer Khadja Nin’s “Sambolera” brings the country’s musical identity into a polished, internationally recognized African pop setting.

“Bwana C.” adds another example of Burundi’s modern song tradition alongside the ceremonial and international selections.

Music from Bulgaria

Bulgaria’s music is renowned for asymmetrical dance rhythms, powerful village instruments, and a distinctive choral sound whose close harmonies have captivated audiences worldwide.

The music of Bulgaria refers to all forms of music associated with Bulgaria like classical, folk, popular music, etc. Bulgarian music is part of the Balkan tradition, which stretches across Southeastern Europe, and has its own distinctive sound. Traditional Bulgarian music has had more international success, due to the breakout international success of Le Mystère des Voix Bulgares, a woman's choir that has toppedworld music charts across Europe and even farther abroad.^[1]  

Overview adapted from Wikipedia’s “Music of Bulgaria” article.

Accordionist Stefan Georgiev demonstrates the speed, ornamentation, and irregular rhythmic drive central to Bulgarian dance music.

Le Mystère des Voix Bulgares showcases the piercing timbre and tightly layered harmonies that made Bulgarian choral singing internationally iconic.

Music from Brunei

Brunei’s music reflects Malay court, village, and ceremonial traditions alongside Islamic devotional influence and a modern popular scene shared with the wider Malay world.

Brunei is a southeast Asian country located on Borneo between the states of Sabah and Sarawak which are part of Malaysia. There is a wide array of native folk music, and dance. Brunei shares some Cultural perspectives and links with the countries of South East Asia such as Malaysia, Singapore, Indonesia, Thailand, Philippines. Although Brunei has similarities with others, there are significant differences in terms of culture and heritage including its folk music, folk dance, and folk stories. The strong Islamic influence means that dance performances and music are somewhat restricted. 

Overview adapted from Wikipedia’s “Music of Brunei” article.

This traditional performance foregrounds the Malay musical heritage at the center of Brunei’s cultural identity.

This second performance broadens the post’s view of Brunei’s musical life beyond the traditional example.

Music from Brazil

Brazil’s music is one of the world’s richest musical ecosystems, bringing together Indigenous, African, and European traditions in samba, choro, bossa nova, forró, MPB, tropicalia, and countless regional styles.

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, zouk-lambada, lambada, choro, bossa nova, frevo, forró, maracatu, MPB, funk carioca, RAP, sertanejo, Brazilian rock, pagode, axé, brega, and others. Samba has become the best known form of Brazilian music worldwide, especially because of the country's carnival, although bossa nova, which had Antônio Carlos Jobim as one of its most acclaimed composers and performers, have received much attention abroad since the 1950s, when the song "Desafinado", interpreted by João Gilberto, was first released. Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazzinfluenced forms, featuring composers like Heitor Villa-Lobos, Pixinguinha and Hermeto Pascoal. The country also has a growing community of modern/experimental composition, including electroacoustic music.

From Wikipedia

Overview adapted from Wikipedia’s “Music of Brazil” article.

João Gilberto’s “Chega de Saudade” is a foundational bossa nova recording, defined by understated singing, syncopated guitar, and radical intimacy.

Luiz Gonzaga’s “Asa Branca” stands as an anthem of Brazil’s northeast and the forró tradition he brought to national prominence.

Gilberto Gil’s “Aquele Abraço” captures the warmth, rhythmic invention, and cultural breadth of modern Brazilian popular music.

Music from Botswana

Botswana’s music ranges from communal song, dance, and distinctive vocal traditions to guitar music, gospel, hip-hop, and contemporary dance styles rooted in Setswana culture.

Botswana is an African country made up of numerous ethnic groups, though the Batswana are the most numerous. Music is an omnipresent part of Botswana culture, and include popular and folk forms. Batswanachurch choirs are common across the country. Music education is an integral part of the Botswana educational system. Children of all ages are taught traditional songs and dances.

Overview adapted from Wikipedia’s “Music of Botswana” article.

Vee Mampeezy’s “Celebrate,” featuring Mmaausi, represents Botswana’s contemporary dance-pop scene and its energetic regional appeal.

This traditional song performance keeps the post grounded in Botswana’s communal musical heritage alongside its modern popular sound.

Music from Bosnia and Herzegovina

Bosnia and Herzegovina’s music reflects centuries of cultural exchange, with sevdalinka song, epic traditions, regional folk dance, religious music, rock, and modern pop all contributing to its identity.

Like the surrounding Balkan countries, Bosnia and Herzegovina has had a turbulent past marked by frequent foreign invasions and occupation. As a result, Bosnian music is now a mixture of the national Slavic folklore with some Turkish influences along with influences from the western part of the world.

Overview adapted from Wikipedia’s “Music of Bosnia and Herzegovina” article.

“Đul Zulejha” represents sevdalinka, Bosnia and Herzegovina’s deeply expressive urban song tradition of longing, love, and poetic storytelling.

Music from Bolivia

Bolivia’s music reflects the country’s extraordinary Indigenous and regional diversity, from Andean panpipes and charango to valley traditions, dance music, and influential modern folk ensembles.

The music of Bolivia has a long history. Out of all the Andean countries, Bolivia remains perhaps the most culturally linked to the indigenous peoples. Like most of its neighbors, Bolivia was long dominated by Spain and its attendant culture. Even after independence, Bolivian music was largely based on European forms. In 1952, a revolution established nationalistic reforms which included cultural and political awareness of the Aymara and Quechua natives. Intellectuals in the country began wearing ponchos and otherwise associating themselves with native cultures, and the new government promoted native folklore by, among other methods, establishing a folklore department in the Bolivian Ministry of Education. 

Overview adapted from Wikipedia’s “Music of Bolivia” article.

Los Kjarkas’ “Llorando se fue” is one of Bolivia’s most internationally influential songs, rooted in the group’s modern presentation of Andean folk music.

Guadalquivir’s celebration of Bolivia’s valleys adds a regional perspective beyond the better-known highland Andean sound.

Music from Bhutan

Bhutan’s music is closely tied to Buddhist ceremony, regional dance, and oral tradition, while modern Bhutanese songs bring those cultural foundations into contemporary popular forms.

The music of Bhutan is an integral part of its culture and plays a leading role in transmitting social values. Traditional Bhutanese music includes a spectrum of subgenres, ranging from folk to religious song and music. Some genres of traditional Bhutanese music intertwine vocals, instrumentation, and theatre and dance, while others are mainly vocal or instrumental. The much older traditional genres are distinguished from modern popular music such as rigsar.^[1]

Overview adapted from Wikipedia’s “Music of Bhutan” article.

“The Song of the White Crane” presents zhungdra, a slow and ornamented classical vocal tradition associated with Bhutan’s central valleys.

“Phama” offers a contemporary Bhutanese music-video example, showing how modern presentation coexists with the country’s traditional musical identity.

Music from Sudan

I'm temporarily abandoning B's to jump all the way to Sudan. While I had intended to keep this blog focused only on the music coming out of various regions, music exists within a context. For Sudan, this context is genocide.

Yesterday Unreported World aired an excellent episode called Terror in Sudan, which can be streamed for free (at least in some areas). At one point in the program Sudanese rebels are able to capture a UAV which shows that al-Bashir is indisputably targeting civilians in bombing runs (as if any bombing run isn't detestable). Only hours ago five more people were killed in a clash between the north and South Sudanese forces. The point I'm getting at is that genocide is real, and it's going on right now.

Beginning with the imposition of strict sharia law in 1989, many of the country's most prominent musicians and poets, like poets Mahjoub Sharif, were imprisoned while others, like Mohammed el Amin and Mohammed Wardi (Mohammed el amin returned to Sudan in 1991 and Mohammed Wardi returned to Sudan in 2003), fled to Cairo. Traditional music suffered too, with traditional Zār ceremonies being interrupted and drums confiscated.^[1] At the same time, however, the European militaries contributed to the development of Sudanese music by introducing new instruments and styles; military bands, especially the Scottish bagpipes, were renowned, and set traditional music to military march music. The march March Shulkawi No 1, is an example, set to the sounds of the Shilluk. Sudan is very diverse, with five hundred plus ethnic groups spread across the country's territory, which is the largest in Africa. The country has been a crossroads between North, East and West Africa for hundreds of years, and is inhabited by a mixture of Sub-Saharan Arabs and Africans.From Wikipedia.

One commenter on this video explains, "Duop is a member of the Nuer tribe in Southern Sudan and sings in his mother tongue. As far as I understand, he celebrates or endorses the peace for the whole of Sudan, including Khartoum..."

Needless to say we will revisit Sudan at a later date.

Music from Benin

Benin’s music draws on deep Vodun and regional traditions while embracing highlife, Afrobeat, funk, and modern African pop, producing sounds with influence far beyond the country.

Benin has played an important role in the African music scene, producing one of the biggest stars to come out of the continent in Angélique Kidjo. Post-independence, the country was home to a vibrant and innovative music scene, where native folk music combined with Ghanaian highlife,French cabaret, American rock, funk and soul, and Congolese rumba. Ignacio Blazio Osho was perhaps the most influential musician of this period, alongside Pedro Gnonnas y sus Panchos, Les Volcans de la Capitale and Picoby Band d'Abomey. Pedro produced the song Feso Jaiye,^[1] which became a hit and was performed by many bands at the 2nd All-Africa Games in 1973.

From Wikipedia.

Overview adapted from Wikipedia’s “Music of Benin” article.

Orchestre Poly-Rythmo de Cotonou’s “Se Ba Ho” captures the group’s celebrated fusion of Beninese rhythms with funk, soul, and Afrobeat.

Angélique Kidjo’s “Agolo” brings Beninese language, rhythm, and dance into a vibrant performance by one of Africa’s most internationally recognized artists.

Music from Belize

Belize’s music reflects an unusually rich meeting of Creole, Garifuna, Maya, Mestizo, Caribbean, and Central American traditions, expressed through styles ranging from brukdown to punta.

The music of Belize has a mix of Kriol, Mestizo, Garifuna, and Maya influences. After many centuries of Maya habitation, British colonizers arrived in the area in the 17th century. Belize was Britain's only colony in Spanish-dominated Central America until self-government in 1964 and gaining full Independence in 1981. Belize is still part of the Commonwealth of Nations. Far more influential than this presence, however, was the importation of African slaves. 

Overview adapted from Wikipedia’s “Music of Belize” article.

Francis Reneau’s “Put Dong Yu Gun” offers a Belizean popular-song perspective shaped by the country’s Creole musical culture.

This performance highlights the wider Caribbean currents that mingle with Belize’s distinctive local traditions.

Music from Belgium

Belgium’s music reflects the country’s linguistic and cultural crossroads, encompassing influential classical traditions, chanson, jazz, electronic music, rock, and distinctive regional folk styles.

The music of Belgium is a cultural crossroads where Flemish Dutch-speaking and Walloon French-speaking traditions mix with those of German minorities and of immigrant communities from Democratic Republic of the Congo and other distant countries.

Overview adapted from Wikipedia’s “Music of Belgium” article.

Brussels-born Jacques Brel’s “Ne me quitte pas” is a landmark of French-language chanson, driven by intimate storytelling and an unmistakably dramatic performance.

Music from Belarus

Belarusian music combines a strong heritage of folk song and dance with choral, classical, rock, and popular traditions shaped by the country’s place between Eastern and Central Europe.

Belarus is an Eastern European country with a rich tradition of folk and religious music. The country's folk music traditions can be traced back to the times of theGrand Duchy of Lithuania. In the 20th century, the Soviet control of the country somewhat limited musical development because nationally oriented music was considered subversive and dangerous to the Soviet authority. The country's musical traditions spread with its people to countries like Russia, Canada, United States,Kazakhstan, Latvia and Ukraine [1]. The people of Belarus were exposed mostly to Russian pop music during this period and also after independence in 1991. In 2002, however, Alexander Lukashenko has signed a decree requiring 50% of all FMbroadcast music to be Belarusian in origin, and since January 1, 2005 the rule was made even stricter (75% of daily broadcast music must be Belarusian). Though it doesn't regulate songs language, so most of broadcast music is still in Russian.

Overview adapted from Wikipedia’s “Music of Belarus” article.

Pesniary’s “Belorussiya” reflects the ensemble’s influential fusion of Belarusian folk melody, close vocal harmony, and Soviet-era popular music.

Music from Bangladesh

Bangladesh’s music draws on a rich Bengali heritage of poetry, devotion, storytelling, and rural life, from Baul mystic song and classical forms to modern popular music.

Bangladesh is traditionally very rich in its musical heritage. From the ancient times, music documented the lives of the people and was widely patronized by the rulers.

Bengali music in ancient times was mostly linked to prayer. Most folk songs are related to some sort of praise of the gods and their creation. Songs were associated with particular groups of people, such as fishermen, cart-drivers, hermits and so on. Most songs were based on classical themes.

Overview adapted from Wikipedia’s “Music of Bangladesh” article.

This performance offers an example of Bangladesh’s Bengali musical culture, where melody and poetic expression remain closely intertwined.