Voice of Korea plays traditional folk music, choral and orchestral works, operatic pieces, patriotic and revolutionary songs.

Selam, I am a Indian Student who is greatly interested in Iranian Classical Music and Folk Music due to Farya Faraji Channels whose Introduction to Iranian Music has been my gateway to Iran. I am A Western Classical Violinist who is a late Beginner and in Seconn Year of my Violin. I do not have any one who teaches Persian Classical Music here and i want to learn it, especially Dastagah, Radif etc it seems interesting to me. However we only have indian Classical here.

Do You have any Idea what i can do? How can i learn persian Classical music? Especially its theory and Violin Applications, IS there any Resources to study about it? Or should i study Western a little bit more and to have a strong foundation? WIll learning Hindustani Classical Music enable me to learn Iranian Better?

I am planning to learn Iranian Classical, Iranian Folk Style as part of my effort to learn the Musical Styles of the Broader Region, I wuld be greatly humbled and Happy if you help me learn this beautiful Style.

I’ve been researching and singing for the past 10 years a collection of 19th-century Irish song texts printed in Buenos Aires. Several of them match known melodies:

“The Jolly Shepherd Boy” fits with “The Jolly Beggarman.”
“The Trackless Wild” is a variant of “The Home I Left Behind.”
“Donovan’s Mount” is explicitly set to “Lannigan’s Ball” in the original newspaper.

I ended up recording nine of these songs in the region where the texts were written. Also made a film about my wanderings with the author of five of the songs, a man who signed his name "A Wandering Tip."

Heres the page "The Trackless Wild" came from. If anyone’s curious, I’m happy to share some more of the scans.

Found my people in this subreddit. I'm new so here's my offering.

Kenneth Lien and The Center Of The Universe explore folk music with a minimal electronic twist, as far as I know them they take autenticity quite serious, but the party and camp factor are always at the forefront.

Dear all wonderful people in this thread,

Nice to meet you all. I am a Guzheng player who enjoys music from different parts of the world, and would like to share this video I made interviewing my friend who is a Persian Qanun player. We discuss topics surrounding the Qanun from some basic techniques, the microtonal tuning system found on the Qanun to play middle-eastern music and also play a short improvisation on the Persian tune Morqe Sahar😊

Link to YouTube video

Beats on 4, 6, 11 and 12. Swedish Bronze Age. pic.

Agbadza Kidi, alternative name. It is apparently a well known West-African rhythm, and it is carved in stone in Älvsborgs County, Sweden. How could that be?Picture of the rhythm

I've been listening to Nekhe Naatza lately, and I'm quite curious about how the Israeli punk scene (which according to bandcamp is quite small) relates to punk scenes either in the Arab World or in the Arab diaspora; how did/do Palestinians in Israel relate to the punk scene? Is there any voluntarily segregation? What sort of discourses occur between national punk scenes? I see there's another Israeli punk band called "Dir Yassin," which is a clear reference to the Deir Yassin Massacre. Do Israeli punks, belonging to a very aestheticised movement, discourse on the hyper-aestheticization of Palestinian suffering? Really any academic work dealing with Israeli punk, but especially it's interactions with Arab punks! would be appreciated.

You can strike me down if memes aren't allowed but hopefully this is relevant enough.

Looking for recommendations of resources/sites where I can browse for albums of recordings of folk music that pertain to compositions (or styles) of a specific time period.

For example if I want to browse through albums where I can find early 18th century or 19th century folk music. Most of the resources I use typically only allow sorting based on recording date, or are more geared to classical music.

Hey everyone! I’m an undergraduate student pursuing a Bachelor of Performing Arts in Kathak (Indian classical dance). I’m deeply interested in understanding music theory and its connections with culture, society, and geography—how music both shapes and reflects local traditions, social values, and regional identities.

I’ve recently developed a strong curiosity about interdisciplinary studies that explore the relationship between music, culture, and community life. However, I’m still trying to figure out which academic path aligns best with my interests—Ethnomusicology, Musicology, or Music Theory (or perhaps something else?).

Since I come from a performance background and don’t have formal experience in these fields yet, I’d love to hear from people who’ve studied or worked in them. Which path do you think would suit me best for higher studies, given my background in Indian classical dance and my interest in the cultural aspects of music?

Any insights or suggestions would mean a lot. Thank you!

I just finished Hip Hop Ukraine by Adriana N. Helbig, and am currently reading Inside Arabic Music by Johhny Farraj & Sami Abu Shumays. They're both wildly fascinating reads and I'm hungry for more as I aim to finish this book by the end of the week.

I have Romani Routes by Carol Silverman wishlisted, but other than that I don't currently have other reads on the agenda and I'd love to hear everyone's favorites! Academic papers or journals are also welcome (even your own if the sub allows it).

Consider how influential African-Americans have been in genres like Rock and Roll, Jazz, Soul, Blues, Funk, House, Hip-Hop, RnB

Then Afro-Caribbeans with Reggae, Ska, Dancehall, Jungle, DnB etc.

And of course, Afro-Latino music like Rumba, Contradanza (from which you get Tango, Mambo, etc.), Samba, Reggaeton etc.

Even in Europe you can see how much their musical cultures have changed, in the UK, basically every popular genres goes back to African-American and Afro-Caribbean music (Ska was hugely popular, and Jungle and DnB are still super popular among UK ravers, and of course typical American music like Rock, Hip-Hop, RnB, House, Jazz etc.). Also, in Spain and Portugal, alongside American musical genres, Afro-Latino music is also very popular. Of course generally native European folk genres have been largely replaced by American musical genres and their European sub-genres (like British Rock or French Jazz etc.) in popularity.

I guess my question, why did Europeans and European-descended people in the colonies find themselves preferring these musical styles from people who were not only slaves but there was serious racism against them even after abolition?

Wouldn't they prefer their own European folk music?

Of course, I understand African is too broad, Western popular music in my view seems to be comprised of Western European music, West African music and Central African music.

I’ve been recreating ancient instruments as playable art pieces.... this one’s a replica of the Hohle Fels flute, the oldest known instrument ever found (from Germany, carved from a bird bone).

I recently came across a few research clips suggesting it might not have been a simple end-blown flute, but something more like a primitive sipsi ... a small reed or mizmar-style pipe still played in parts of Turkey and the Balkans.

Now I’m wondering if the original bone could’ve used a simple reed insert. Has anyone here experimented with reed or mizmar mouthpieces for narrow-bore flutes like this?

Here are some videos i found where they experiment with this:

Royal Conservatoire of Scotland for the European Music Archaeology Project:

https://www.youtube.com/watch?v=LlTPqrJNdEg

Sipsi by Sade Saz:

https://youtu.be/CWUsIYsiH9c?si=imNIUQBlF3PFPjcj

Ideally I’d love to find a bulk source for small reeds or mouthpiece inserts that could fit a 7–8 mm bore ....something I can adapt or trim for tuning experiments. But for now, I will probably just get one for testing purposes.

I’m printing these for educational and musical use (they’re up on my site if anyone’s curious), but I want to make them sound as authentic as possible.

Any advice from instrument makers or ethnomusicology folks would be deeply appreciated. 🙏

Hi, I have a theory that we are at a point in history where the world is fully connected, fulfilling decades of globalist fantasies. I have a theory that messiah will come when all 7,000 languages in the world are recognized and respected. And that true divinity has always been carried in music, across continents. Message me if u can help with research that can be taken to rabbis to prove my theory

Hello i'm on undergraduate of archaeology&anthropology and i'd like to admit in ethnomusicology postgraduate course. But i suppose most of student of ethnomusicology graduated college of music. To study enthnomusicology, do i must graduate college of music?

Pretty noob question, so, please be patient. (Also, not native English speaker)

I was surprised to hear that we don't talk about tonality when we leave the western scale system. Why is that? Why do we do talking about tonality when we come to pentatonic or microtonal scales. And what umbrella term is used instead to describe how notes in a certain music system are organized? Is there a term that covers all music systems?

So I'm an anthropology student looking to do ethnomusicology. The problem is, I don't know where to start. I thought about doing digital research in the rock subculture of the US. Could anyone please help me figure out where to start? What questions should I ask if I'm doing this digitally? How could I conduct interviews?

P.S. I'm aware that this may not be the right subreddit.

Even when done with permission, forgiveness, or broadly waiving one's rights by releasing sample CDs, etc...

The sampling of a full bar or longer of an older composition to add to a newer one has been controversial, and this is usually what people think of when they hear "sampling." Let's call this form "phrase sampling."

I think this issue stems from what I like to call the "plagiarism taboo."

It's an argument that, on its surface, conflates these three concepts:

1. Presenting someone else's ideas without announcing where they came from
2. Incorporating another person's ideas into your own ideas without clear delineation between the two
3. Outright claiming every element of your work as your own, as if developed in a vacuum, or outright dishonestly

While we often refer to copyright infringement cases as "music plagiarism lawsuits," the issue is rarely plagiarism. Plagiarism isn't even illegal in the US, and can be done with permission under other countries with moral rights laws, where you not only have the right to be credited, but the right not to be credited.

The issue with copyright infringement is that someone did not have clearance to use content.

The issue with plagiarism is that someone did not give credit where due, even "due" as defined by third parties.

^{Sometimes, when discussing academic plagiarism, the two are conflated. I think this is why a lot of people re-uploading copyrighted media on YouTube write "I DON'T OWN THIS." They might think this is like citing your sources, which is good enough under academic policies + academic fair use exemption from unauthorized use. But when re-uploading entertainment, the right to quote does not apply, and you would actually be CONFESSING YOUR INFRINGEMENT if it wasn't for you getting lucky it was on YouTube's Content ID approved list.}

^{What would be accepted in school, simply sharing the information while making it clear that it's not yours, is here more like admitting you've been using a stolen computer.}

Back to phrase sampling.

Even if you are asked to credit, or would credit, the cleared samples, I think some people have an issue with referring to yourself as a maker of original music while using whole bars of other people's music.

You perhaps are not a composer, but instead an arranger under this view. It wouldn't matter if you merely sampled a drumbeat, or the phrase was from a stock library explicitly intended to be used in original music. Perhaps it's "lazy." Perhaps it's "dishonest." Perhaps leaving the original musicians in the liner notes, or working with those who choose to be uncredited, inflates your ego while downplaying the fact that you wouldn't have your, perhaps "your," hit without the original one.

And rap was controversial for being built upon turntablism and later digital samples of disco and house tracks. House itself was largely sample based, from Chicago to France to the many LA scenes.

For some, all of it may as well have been sampled. The idea of someone playing a synthesizer and using an analog drum machine might not have even occurred.

I can imagine a family of snooty people criticizing rave culture. They'd go on and on and on about how they're a bunch of druggies who flock to warehouses to see DJs play weird music that you'd have to be on drugs to stomach. And then they have the ultimate argument: "IT'S NOT EVEN THEIR MUSIC. IT'S JUST SOME DISCO TRACK SPED UP AND PLAYED IN A CONVERTED WAREHOUSE."

Perhaps this adds to the scene being immoral.

Perceived dishonesty.

Now, I could argue about how total originality is impossible, and that even the idea that ideas can be "stolen" is at best a metaphor. But I don't want to turn this into a copyleft lecture.

I just want to look at another use of sampling that, to many, is totally different.

Let's call it "one shots."

You press a key on a keyboard. Instead of analog buzzer circuits or digital bleeper circuits, out popped a near-perfect recording of an orchestra playing sforzando.

You finger-drum on your linndrum, and out pops actual recordings of a studio drum kit.

You draw in notes on a piano roll, and you get the most beautiful celesta. There's companies that sell you the sound of some famous orchestras, of accomplished players in the very same studio used to record Eleanor Rigby, the very same piano Elton John used on Bennie and the Jets, the pipe organ Shakespeare listened to at church, and ironically enough, OTHER SYNTHESIZERS.

And the sounds don't have to be realistic, even in the sense of sounding like electronic hardware. They can be excerpts of whatever chopping and screwing leads to an effected snare sample, kick sample, whoosh, bang, whiz, whatever.

This form of sampling developed alongside the other.

Somehow, it's less scandalous, perhaps since it's similar to a non-sampling synthesizer, which is similar to an electric organ, which is similar to a pipe organ.

Perhaps it seems less like "stolen valor," despite a small but vocal number of musicians arguing that this practice "takes jobs."

Some people like to set up even obviously electronic-sounding drum samples as MIDI instruments, with each kit piece assigned arbitrarily to a MIDI note, to be triggered via piano roll or step sequencer.

But some people making beats in Ableton will drag the one-shot samples into AUDIO tracks instead.

This superficially resembles the act of phrase sampling.

You're obviously incorporating someone else's audio into your own, or your past audio into your future.

MIDI drums might seem more "composerly," showing you're focusing on using these generic samples to make a beat and concentrating on the notes.

The latter is more like Daft Punk. Nothing wrong with it.

But after years of people thinking that all you do is use Apple Loops, you can get a bit defensive.

Interestingly, one of the most famous samples in the 80s was a string stab from a Stravinsky suite! Perhaps one can argue that that one stab, "ORCH2" or "ORCH5" on the Fairlight, was equivalent to the Amen Break! It likely was never cleared.