(2) XOCHI CUICATL aka FLOWER SONGS MUSIC aka FLOR Y CANTO @ PLAZA DE LA RAZA скачать в хорошем качестве

(2) XOCHI CUICATL aka FLOWER SONGS MUSIC aka FLOR Y CANTO @ PLAZA DE LA RAZA

(2) XOCHI CUICATL aka FLOWER SONGS MUSIC aka FLOR Y CANTO @ PLAZA DE LA RAZA 00:27 ZANDUNGA 04:16 MALE SEVERIANA 06:14 MAYAN CHILDREN'S SONG 10:37 CREDITS and THANKS XOCHI CUICATL aka FLOWER SONGS MUSIC aka FLOR Y CANTO with Christopher Garcia Yolanda E. Delgado Garcia Alegria Garcia with special guest Pablo Lenero Archer RESONANCIA recording is now available for purchase as download only 100% of the downloads go to an Indigenous Arts Organization physical CDs are only available to live performances https://christophergarciamusicproject... FLOWER SONGS MUSIC XOCHI CUICATL FLOR Y CANTO WEBSITE for additional information https://flowersongsmusic.weebly.com/ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ REVIEWS "Christopher Garcia is frequently invited as a soloist in symphony and chamber orchestras in Europe and America to play instruments rarely associated with music of the European tradition including tlapan huehuetl, teponaztli, huilacapiztli, and atecocolli from Mesoamerica, tabla from North India, kanjira and ghatam from South India." TIEMPO LIBRE MAGAZINE ARTE Y CULTURA EN MEXICO "While he has devoted much of his life to learning indigenous music Garcia also revels in playing the new and unexpected…..Garcia's musical vocabulary not only spans centuries and cultures it's also spontaneous." DEUTSCHE WELLE GERMANYS INTERNATIONAL BROADCASTER ​ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ the earliest image of the indigenous breath, string and percussion instruments played in conjunction with other instruments has ben radio carbon dated to 790 A.D., one thousand three hundred years ago the instruments are unchanged and continue to be played by modern day practitioners in more traditional settings yet most have never heard or seen the instruments and they are not considered part of the instruments of the world music pantheon ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ after reading the following a few years ago it inspired me to compose for these instruments alongside other instruments of different cultures to create a new resonance for (hopefully) a newer world, the current "traditional" practices of playing these instruments continues to exist and this music proves the following as subjectively incorrect ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~` “The music of the Aztecs was unworthy of so cultivated a people. They were not acquainted with stringed instruments; those they used were confined to the “huehuetle”, the “teponastle,” trumpets, sea-shells, and flutes - generally made of terra-cotta - which produced shrill sounds.... the sound they produced can be imagined; it certainly lacked harmony Drums, flutes, even conch shells accompanied the hymns sung in the temples, which were chanted in a sing-song manner, in a rude, monotonous tune, fatiguing to European ears. But the Aztecs took so much pleasure in them that they frequently sang during entire days. In spite of this taste music is the only art that remained in infancy among them. Bad musicians, the Mexicans. On the other hand, were very skillful in the art of dancing, in which they exercised themselves under the direction of priests from childhood. Their dances, which were of great variety, had different names. They danced in circles, or arranged in files, between which a dancer executed fancy steps. The women often took part in this amusement. For this recreation the nobles put on their most costly clothes, and decked themselves with jewels of gold, of silver, or of feathers.” THE AZTECS Their History, Manners, and Customs FROM THE FRENCH OF LUCIEN BIART (Published 1887) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ “From the remaining exemplars of Aztec instruments preserved in the National Museum of Mexico, we may infer that the music the people during the pre-Conquest era was as barbarous and harsh as were the ceremonies at which their music was heard… the conch shell, the Mixtecan tun, the teponaztli, the chicahuaztli, the sonaja, the Zapotec chirimia and the Yaqui tambor, are not instruments capable of producing either alone, or in conjunction with each other, a grateful harmony: nor can the sound of any of them induce a spiritual response that is in harmony with presently accepted standards of behavior" EL ARTE MUSICAL EN MEXICO Published under the official Direction in General de las Bellas Arte Alba Herrera y Ogazon (Published 1917)