User talk:EtnoS

Official Blog Page 1 of 1[1] ALM: AbbabulA LirycS MusiX AbbabulA GesuinO DeianA LyriX

No b’ hat no b’ hat no b’ hat

no b’ hat de s’arresare

ca ke semus in abba a bula

abba a bula in abba a bula.

Eja ke semus in abba a bula

abba a bula in abba a bula.

Bula abba a bula imbara oh.

Bula abba a bula imbara oh.

Bula abba a bula imbara oh.

Primma de tottu sa limba.

Bomboro bombombomboih.

Sa limba sa limba sa limba.

Bomboro bombombomboih.

Sa limba sa limba hello sa limba.

Bomboro bombombomboih.

Non bi hat limba kena limba

emmo sa limba.

Bomboro bombombomboih.

Pintadera: MadE IN SardiniA WOMAD SelecT 1997
Pintaderas: Made in Sardinia Gesuino Deiana

This music, recorded binaurally by producer Tchad Blake, is based on the cultural roots of Sardinia - the land of the "Empire of Nuraghes" (circular stone buildings, dating from around 3,000 BC).

The Punics, Phoenicians, Romans, Africans, Spanish and others came to the island, bringing with them different cultures, and this, combined with modern influences, has formed the music of Sardinia today.

PintaderaS: MadE IN sardiniA
According to Blake, the albums he made with Sardinian guitarist Gesuino Deiana and Gambian kora player Pa Bobo were both recorded equally with the ECM50s and the KU100: "When you hear me on the Sardinian record being outside and walking around or sitting in a car, or you hear sheep, or that guy playing harmonica in the opening track, which was recorded in a pizzeria, that's all done with the Sonys. The music that has some ambience was recorded in a church with the dummy head. The sleeve says that most of the recording was done in Real World, but that's a typographical error -- everything on the CD was recorded in Sardinia. Part of the point of doing these binaural recordings is that I want to give the listener a sense of where the music comes from. I don't want them to just hear the music out of context. It's a way of showing what helped the musician develop his or her style. For example, when Gesuino Deiana is playing he listens to every sound that he hears. Whether it's a car passing or a dog barking, he'll actually mimic that on his guitar a little bit and he'll incorporate that into his compositions. He doesn't get heavy about that, it's just something that happens, often totally unconsciously.

MarcellO VitalE by AbbabulA
Marcello Vitale was born in Benevento, on 11 october 1969. His approach to “battente” guitar happens at the age of 15. On the grounds of the great lesson of the masters of the tradition, he goes deep into the study of battente guitar, giving it a larger prominence as soloist instrument and bringing out its extraordinary expressive possibilities. In 1994 he gets a diploma in classic guitar at the Conservatoire of Benevento, under the guidance of Raimondo Di Sandro, in 1996 he graduates in Philosophy at the University of Naples. In 1997 he takes part as soloist in Lezioni di Tarantelle, a show organized by Eugenio Bennato which took place in Naples, in the “City of Science”. In this occasion he begins to take part to the band Musicanova. In this group he makes concerts all over Europe, in Czechoslovakia, Poland, Tunisy, Turkey, Morocco and Australia. In 1999 he writes and plays, with Lilly Greco and Paolo Raffone, the soundtrack of the film Ferdinando e Carolina by the director Lina Wertmuller, which wins him in Tirrenia (PI) the European Prize “Massimo Troisi” for the best soundtrack. In the same year he is made honorary member of the “Accademia Medicea” in Florence for his works in the sphere of ethnic music. In the same time he takes part to many festivals: EMMAS (Etnic Meeting of Music and Arts in Sardinia) in Olbia, where he gets a good reply by Peter Gabriel; WOMAD in Adelaide (Australia); Intercultural Festival of Grand Junction, Colorado (USA); Lufthansa Festival of Baroque music (London); Festival Oude Muziek – Utrecht (Holland); Musiques Vagabondes de Loire – Atlantique, Ancenìs (France). In 2000 he begins to take part of ensemble of baroque harped music directed by Christina Pluhar. In this group he records three cd for the french production Alpha and takes part to the most important festivals of antique music all over Europe. In 2005 he is called by Roberto De Simone to play the battente guitar in the opera Socrate Immaginario by Giovanni Paisiello (direction and musical review by R. De Simone) performed in september at the San Carlo Theatre in Naples. Collaborations: Pino De Vittorio; Pape Kanoute; NCCP; Gesuino Deiana; Alfio Antico; Carlo D'angiò; Pietra Montecorvino; Lucilla Galeazzi; Christina Pluhar; EugenioBennato/Musicanova; Daniele Sepe; Gianluigi Trovesi; Roberto De Simone; The Kings Singers.

CordaS ET CannaS by AbbabulA
BIOGRAFIA Il gruppo Cordas et Cannas nasce ad Olbia nel 1978-1979 dall ' incontro di musicisti con percorsi musicali differenti, ma con intenti precisi. Essi operano presto nella rivalutazione della musica in limba dei poetas et cantadores sardi, realizzando una lunga serie di concerti in tutta la Sardegna. Lo stile musicale si sviluppa in tre fasi complementari e distinte fra loro, rispettivamente nella prima incisione Cantos et musicas de sa Sardigna (1983), nella seconda Scalmentu (1985) e Musicalimba (1988), una sorta di triade: tesi, antitesi e sintesi. Con MUSICALIMBA (termine che denota questo tipo di musica) il gruppo dei Cordas et Cannas prende definitivamente le distanze da altre definizioni di mercato, attestandosi così la responsabilità e la paternità di questo stile musicale della Sardegna degli anni ottanta e novanta. La scrittura melodica di "Nanneddhu" ( da Nanni Sulis) e di su "'Testamentu" poesie di Peppino Mereu, conferisce al gruppo un'originale immagine, artistica. "Tancas Serradas" il tema delle chiudende attribuito a Melchiorre Murenu, "Sos Piratas Barbarescos" del poeta Remundu Piras, "Procurade e Moderare", l'inno di protesta i baroni dell'ottocento, di Ignazio Francesco Mannu, "Ninna Nanna Pizzinnu" Antioco Casula(noto Montanaru) ed altri temi, sono solo una parte delle composizioni musicali ispirate alla tradizione Sarda, che i Cordas et Cannas hanno reso popolari in forma attuale vicino alle nuove generazioni. L'esplorazione del proprio entroterra culturale e la sua proiezione nel presente e futuro, sono lo stimolo ideologico che anima questo gruppo sin dalla nascita ad oggi. Il loro ultimo lavoro chiamato FRONTERAS pubblicato nell'agosto '99 è il coronamento di questa proiezione, infatti trattano argomentazioni prevalentemente sociali, (Mine anti-uomo disseminate nel mondo, Ambiente, Emarginazione Sociale, Bambini abbandonati, Identità culturale etc.) La collaborazione periodica con artisti dell'area Jazz (Paolo Fresu e Antonello Salis) dimostra la flessibilità dei Cordas nel trattare, in tempi non sospetti, la musica Sarda in forma aperta ad altre culture, ottenendo affascinanti risultati ed individuando ulteriori possibilità di confronto sul piano internazionale. Nell'anno 1997 hanno partecipato al festival Womad fondato da Peter Gabriel a Reading, dove hanno riscontrato un ottimo consenso da parte del pubblico e dell'organizzazione. I Cordas et Cannas hanno eseguito concerti (feste popolari, festivals, teatri) durante gli ultimi 15 anni in Sardegna, Continente, Europa e in Usa, fra cui: Scozia, Irlanda del nord, Inghilterra, Galles, Olanda, Isole Shetland, N.York, New Jersey, Francia, Canada, Australia, Colorado e Argentina. "UR" IL NUOVO DISCO DEI CORDAS ET CANNAS

Produzione esecutiva: Cordas et Cannas Prodotto da Raffaele Musio e Bruno Piccinnu Registrato e Mixato da Raffaele Musio al Casagliana Studio Recording Olbia Mastering Claudio Giussani Nautilus Mastering Milano Musiche di Bruno Piccinnu, Francesco Pilu e Gesuino Deiana Eugenio Colombo (solo in UR ) Musicisti: Francesco Pilu: Voce Launeddas armonica organetto flauto Gesuino Deiana: chitarra voce Bruno Piccinnu: percussioni voce Lorenzo Sabattini: fretless bass contrabasso Sandro Piccinnu: Batteria Antonio Pitzoi: Batteria Ospiti: Marino De Rosas: chitarra Raffaele Musio. chitarre bouzuki bass-Ashbury Eugenio Colombo: sax soprano Fabio Manconi: Fisarmonica Maria Dolores Biosa: voce Guy Leandre: djembè Stella Veloce: violoncello Peppino Anfossi: violino Coro Polifonico di Loiri Tenore Padresu

GesuinO DeianA by AbbabulA
Binding: Audio CD EAN: 0740042040724 Label: Womad Select Manufacturer: Womad Select Number Of Discs: 1 Publisher: Womad Select Release Date: April 08, 1997 Sales Rank: 583602 Studio: Womad Select

Disc 1:

1. Tutu-Tutu (Sardinian Dance By Harmionica) 2. Ateras Ninnas (Other Lullabies) 3. Sheep And Tenors 4. Abu Et Mont' Arbu 5. Oriental Sun 6. Stories Of Inside And Outside 7. Driving To Benalonga-Passos 8. Dawn 9. Night Sounds 10. Pintaderas (Mould For Decorating Bread) 11. Silver Clogs 12. Land Of Winds 13. Moon's Caress 14. Insect's Village 15. Grapes 16. Owls And Other Sounds 17. Froredillu (Flower Dance) 18. Turulu 'E Monachus-Intro 19. In Sa Rena Et In Su Mar-ea-Intro

Customer Reviews Average Rating: out of 5 stars

Rating: 5 out of 5 stars - Made in Sardegna This is a excelent CD. Not the typical pastorial chants but something different. The CD has a folk-classical sense and has the essence of the mystery of Sardinia. Don't neglect this CD for International Listerners. Gesuino Deianna maybe as popular in the future as Nusart Ali Kahn.

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For guidelines on specific types of articles, you may want to check out our criteria for biographies, for web sites, for bands, or for companies. Feel free to leave a note on my talk page if you have any questions about this. Pinkadelica 09:19, 8 June 2008 (UTC)

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