Excerpts from Hiromi Lorraine Sakata, Afghanistan Collection 1972003. Excerpts include Falaks described in Table 22 of Professor Sakata's book, Music in the Mind (2002, Smithsonian Institution Scholarly Press). 
Detailed metadata available here: https://tinyurl.com/uwea-falaks 
Collection finding aid available here: https://archiveswest.orbiscascade.org/ark:80444/xv67474?q=1972003

Recorded on Nagra (full-track) and Uher (stereo recorder with 2 tracks running same direction - used with movie camera).

Photo: Harvesting Poppies (Lorraine Hiromi Sakata, Hazarajat,  Afghanistan Fieldwork Slides, 1971-1973)
_____
Bio: Hiromi Lorraine Sakata is the author of Music in the Mind: The Concepts of Music and Musician in Afghanistan (Kent State University Press, 1983 and reissued by Smithsonian Institution Press, 2002) and Afghanistan Encounters with Music and Friends (Mazda Publications 2013). She is producer of Ustad Mohammad Omar: Virtuoso from Afghanistan (Smithsonian Folkways, 2002). Her other publications focus on devotional music of Pakistan, in particular, the music at Sufi shrines in Pakistan. Sakata taught in the Ethnomusicology Program at the University of Washington for twenty years before joining the UCLA faculty. She was made an Honorary Member of the Society for Ethnomusicology in 2012.
_____
Rights: These recordings were digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Their copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Their reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. These works are made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Hiromi Lorraine Sakata, Afghanistan field recordings (Falaks)

Tulalip Tribes Lesson-5: ʔaləxʷ k̓ʷid (What time is it?) Recorded by Michelle Myles

ʔulub ʔi kʷi ʔiɬčəx̌ ʔal kʷi ɬup – 10:30am

x̌ʷəl ʔi kʷi ʔiɬčəx̌ ʔal kʷi ɬup – 9:30am

təqačiʔ ʔi kʷi ʔiɬčəx̌ ʔal kʷi ɬup – 8:30am

c̓uʔkʷs ʔi kʷi ʔiɬčəx̌ ʔal kʷi ɬup – 7:30am

yəlaʔc ʔi kʷi ʔiɬčəx̌ ʔal kʷi ɬup – 6:30am

cəlac ʔi kʷi ʔiɬčəx̌ ʔal kʷi ɬup – 5:30am

saliʔ ʔi kʷi ʔiɬčəx̌ ʔal kʷi ɬup – 2:30am

This playlist features recordings from the Accents & Dialects and World & Traditional music collections of the British Library Sound Archive and has been curated by the artist Jill McKnight, as part of her exhibition 'Desire Lines' at Leeds Art Gallery and online from 25 March to 16 October 2022. Jill took inspiration from these collections and those of Leeds Art Gallery in the creation of her new artworks for the exhibition.

It also includes new recorded versions of the songs 'The Derby Ram' and 'The Cruise of the Calabar' performed by the Yorkshire Trans Choir, which were chosen by the artist for their focus on reinterpreting traditional folk songs with a political twist.

Further details on the project can be found by following this link: https://museumsandgalleries.leeds.gov.uk/leeds-art-gallery/desire-lines-by-jill-mcknight/

Credits:

'Three Jolly Fishermen', Steve Gardham, 1970, Roy Palmer Collection, British Library Shelfmark: C1023/62 © Steve Gardham.*

*We have been unable to locate all owners of the copyright in this material. Please contact copyright@bl.uk with any information you have regarding this item.

Three Jolly Fishermen, performed by Steve Gardham (1970)

ECHOES FROM A TURKISH DISCO BENDER (RIAFC150)

Gong bangers from southeast Asia

1-2 Rooster Dance by Isneg Group & Tadok by Kalinga (Izne Philippines) – Yasuhiro Morinaga
Bumper/ID – Realms and Layers - Asia 2005-2023 #5 - Jesse Paul Miller 
3-4 Nyaheun Tha #1 & #6 – Brao Tha Cambodia Laos – Kink Gong
5 Shan (Mru) Traditional Dance - TV Myanmar (Myanmar 2009)
6 Very Heavy Drinking Parties - Dayak Headhunting – Tom Harrison (Borneo 1959)
7 Night Recordings from Bali (Sublime Frequencies)
8-9 Kavet Brao Village Party & Kanying Brao Flat Gongs – Gongs of Cambodia & Laos – Kink Gong & Tiger Gong 
10 Hamong Gongs – Brao Gongs Laos – Kink Gong
11 Nkriang Song & Bells - Sekong Laos - Kink Gong
12 Brao Drinking Session – Gongs of Cambodia & Laos – Kink Gong & Tiger Gong 
13-14 Funeral Music by Churu & Funeral Music - Se Dang (Cambodia) – Yasuhiro Morinaga
15 Music of the Buffalo Sacrifice Ceremony of the Jarai (Vietnam) – Vincenzo Della Ratta
16 Excerpts from Gongs of the Bahnar (Vietnam) – Vincenzo Della Ratta


GONG BANGERS RADIO (RIAFC153)

Excerpt from Hiromi Lorraine Sakata, Afghanistan Collection 1972003. Excerpts include FALAKS described in Table 22 of Professor Sakata's book, Music in the Mind (2002, Smithsonian Institution Scholarly Press).
Detailed metadata available here: tinyurl.com/uwea-falaks
Collection finding aid available here: archiveswest.orbiscascade.org/ark:80444/…?q=1972003

Recorded on Nagra (full-track) and Uher (stereo recorder with 2 tracks running same direction - used with movie camera).

Photo: Harvesting Poppies (Lorraine Hiromi Sakata, Hazarajat, Afghanistan Fieldwork Slides, 1971-1973)
_____
Bio: Hiromi Lorraine Sakata is the author of Music in the Mind: The Concepts of Music and Musician in Afghanistan (Kent State University Press, 1983 and reissued by Smithsonian Institution Press, 2002) and Afghanistan Encounters with Music and Friends (Mazda Publications 2013). She is producer of Ustad Mohammad Omar: Virtuoso from Afghanistan (Smithsonian Folkways, 2002). Her other publications focus on devotional music of Pakistan, in particular, the music at Sufi shrines in Pakistan. Sakata taught in the Ethnomusicology Program at the University of Washington for twenty years before joining the UCLA faculty. She was made an Honorary Member of the Society for Ethnomusicology in 2012.
_____
Rights: These recordings were digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Their copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Their reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. These works are made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Sakata, Afghanistan | 72-3.13 Take 74

Excerpt from Hiromi Lorraine Sakata, Afghanistan Collection 1972003. Excerpts include FALAKS described in Table 22 of Professor Sakata's book, Music in the Mind (2002, Smithsonian Institution Scholarly Press).
Detailed metadata available here: tinyurl.com/uwea-falaks
Collection finding aid available here: archiveswest.orbiscascade.org/ark:80444/…?q=1972003

Recorded on Nagra (full-track) and Uher (stereo recorder with 2 tracks running same direction - used with movie camera).
_____
Bio: Hiromi Lorraine Sakata is the author of Music in the Mind: The Concepts of Music and Musician in Afghanistan (Kent State University Press, 1983 and reissued by Smithsonian Institution Press, 2002) and Afghanistan Encounters with Music and Friends (Mazda Publications 2013). She is producer of Ustad Mohammad Omar: Virtuoso from Afghanistan (Smithsonian Folkways, 2002). Her other publications focus on devotional music of Pakistan, in particular, the music at Sufi shrines in Pakistan. Sakata taught in the Ethnomusicology Program at the University of Washington for twenty years before joining the UCLA faculty. She was made an Honorary Member of the Society for Ethnomusicology in 2012.
_____
Rights: These recordings were digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Their copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Their reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. These works are made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Sakata, Afghanistan | 72-3.13 Take 73

Sakata, Afghanistan | 72-3.14 Take 76

Sakata, Afghanistan | 72-3.14 Take 79

Sakata, Afghanistan | 72-3.15 Take 81

Excerpt from Hiromi Lorraine Sakata, Afghanistan Collection 1972003. Excerpts include FALAKS described in Table 22 of Professor Sakata's book, Music in the Mind (2002, Smithsonian Institution Scholarly Press).
Detailed metadata available here: tinyurl.com/uwea-falaks
Collection finding aid available here: archiveswest.orbiscascade.org/ark:80444/…?q=1972003

Recorded on Nagra (full-track) and Uher (stereo recorder with 2 tracks running same direction - used with movie camera).

_____
Bio: Hiromi Lorraine Sakata is the author of Music in the Mind: The Concepts of Music and Musician in Afghanistan (Kent State University Press, 1983 and reissued by Smithsonian Institution Press, 2002) and Afghanistan Encounters with Music and Friends (Mazda Publications 2013). She is producer of Ustad Mohammad Omar: Virtuoso from Afghanistan (Smithsonian Folkways, 2002). Her other publications focus on devotional music of Pakistan, in particular, the music at Sufi shrines in Pakistan. Sakata taught in the Ethnomusicology Program at the University of Washington for twenty years before joining the UCLA faculty. She was made an Honorary Member of the Society for Ethnomusicology in 2012.
_____
Rights: These recordings were digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Their copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Their reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. These works are made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Sakata, Afghanistan | 72-3.27 Take 168

Founded in 1962, the UW Eth­no­mu­si­col­ogy Archives is home to more than 100,000 rare and unique films, videos, and sound recordings. Collected by ethnomusicologists and community members, these materials document global and local music across a range of traditions and styles: Some materials may be restricted or require special permission to access.

Sakata, Afghanistan | 72-3.27 Take 168

UW Ethnomusicology Archives

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