"bouzouki and the baglamas are the direct descendants. The Greek marble relief, known as the Mantineia Base (now exhibited at the National Archaeological Museum of Athens), dating from 330–320 BC, shows a muse playing a variant of the pandoura. From Byzantine times it was called pandura and then tambouras. On display in the National Historical Museum of Greece is the tambouras of a hero of the Greek revolution of 1821, General Makriyiannis. Other sizes have appeared and include the Greek instrument tzouras, an instrument smaller in size than standard bouzouki. The bouzouki arrived in Greece following the 1919–1922 war in"
"Today, zouk is the French Antilles compas, also called zouk-love In Africa, Kassav's zouk and the Haitian compas they featured, gained popularity in francophone and lusophone countries. It is also particularly popular in North America in the Canadian province of Quebec. Bouyon (Boo-Yon) is a form of popular music of Dominica, also known as jump up music in Guadeloupe and Martinique. The best-known band in the genre is Windward Caribbean Kulture (WCK), who originated the style in 1988. Over the years, thanks to inter-trade with the Dominicans and the mass participation of Guadeloupe at the World Creole Music Festival, the"
"Buzuq The buzuq (; also transliterated bozuq, bouzouk, buzuk etc.) is a long-necked fretted lute related to the Greek bouzouki and Turkish saz. It is an essential instrument in the Rahbani repertoire, but it is not classified among the classical instruments of Arab or Turkish music. However, this instrument may be looked upon as a larger and deeper-toned relative of the saz, to which it could be compared in the same way as the viola to the violin in Western music. Before the Rahbanis popularized the use of this instrument, the buzuq had been associated with the music of Lebanon"
"whom the artist describes as ""Fabricatore di bossuchi"". The drawing clearly shows a number of bouzouki-like instruments. Despite this evidence, we still know nothing of the early history of instrument's association with what came to be called rebetiko. Recent research has however uncovered a number of hitherto unknown references to the instrument during the 19th and early 20th centuries, including evidence of its established presence in the Peloponnese. Although known in the rebetiko context, and often referred to in song lyrics, well before it was allowed into the recording studio, the bouzouki was first commercially recorded not in Greece, but"
"Music of the Republic of the Congo The Republic of the Congo is an African nation with close musical ties to its neighbor, the Democratic Republic of the Congo. The Democratic Republic of the Congo's homegrown pop music, soukous, is popular across the border, and musicians from both countries have fluidly travelled throughout the region playing similarly styled music, including Nino Malapet and Jean Serge Essous. Brazzaville had a major music scene until unrest in the late 1990s, and produced popular bands like Bantous de la Capitale that played an integral role in the development of soukous and other styles"
"of Cuban music) influenced by traditional music and jazz. Soukous arose from this fusion of styles, popularized as dance music by a number of different orchestras in the 1950s and 60s. Music of the Republic of the Congo The Republic of the Congo is an African nation with close musical ties to its neighbor, the Democratic Republic of the Congo. The Democratic Republic of the Congo's homegrown pop music, soukous, is popular across the border, and musicians from both countries have fluidly travelled throughout the region playing similarly styled music, including Nino Malapet and Jean Serge Essous. Brazzaville had a"
"World War II, made a comeback in the 1980s. The Guadeloupean-administered island of Marie-Galante has also had a vital and well-documented balakadri tradition. As in Martinique (and the Creole-speaking islands of Saint Lucia and Dominica), kwadril dances are in sets consisting of proper quadrilles, plus creolized versions of 19th-century couple dances: biguines, mazouks and valses Créoles. Though Guadeloupe and Martinique are most frequently known only for the internationally renowned zouk style, the islands have also produced popular musicians in various updated styles of traditional biguine, chouval bwa and gwo ka. The world-famous zouk band Kassav' remains easily the most famous"
"been introduced to the French Caribbean in the late 1800s. In the 21st century in Brazil and the Afro-Caribbean diaspora, ""zouk"" (and its progenitor-band Kassav’) remains very popular. In popular 20th century folk dancing in France, the Polish/classical-piano (see Chopin) ""mazurka"" evolved into ""mazouk"", a dance at a more gentle pace (without the traditional 'hop' step on the 3rd beat), fostering more-intimate dancing and associating mazouk with a “seduction” dance (see also tango from Argentina). This “sexy” style of mazurka has also been imported to “balfolk"" dancing in Belgium and the Netherlands, hence the name ""Belgian Mazurka"" or ""Flemish Mazurka""."
"Angelo Avramakis Angelo Avramakis (Greek: Βαγγέλης Αβραμάκης) is a Greek musician and bouzouki player. Born in Serres, Greece, he has spent most of his life in Australia. He is considered the leading bouzouki player in Australia and among the top bouzouki players in the world. Avramakis began playing drums at the age of 4. He learned the bouzouki at the age of 8 and began studies in music theory and harmony at Melba Conservatorium of Music. He also plays the guitar, keyboards, bass guitar and Greek baglama. Avramakis has performed and toured with some of Greece's well known artists: Vaso"
"the composer and the lyricist: Angelo Avramakis Angelo Avramakis (Greek: Βαγγέλης Αβραμάκης) is a Greek musician and bouzouki player. Born in Serres, Greece, he has spent most of his life in Australia. He is considered the leading bouzouki player in Australia and among the top bouzouki players in the world. Avramakis began playing drums at the age of 4. He learned the bouzouki at the age of 8 and began studies in music theory and harmony at Melba Conservatorium of Music. He also plays the guitar, keyboards, bass guitar and Greek baglama. Avramakis has performed and toured with some of"
"style, employing instruments of the Ottoman tradition. During the second half of the 1930s, as rebetiko music gradually acquired its own character, the bouzouki began to emerge as the emblematic instrument of this music, gradually ousting the instruments which had been brought over from Asia Minor. The bouzouki was apparently not particularly well-known among the refugees from Asia Minor, but had been known by that name in Greece since at least 1835, from which year a drawing by the Danish artist Martinus Rørbye has survived. It is a view of the studio of the Athens luthier Leonidas Gailas (Λεωνίδας Γάϊλας),"
"Music of Martinique The music of Martinique has a heritage which is intertwined with that of its sister island, Guadeloupe. Despite their small size, the islands have created a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Martinique and Guadeloupe. Zouk's origins are in the folk music of Martinique and Guadeloupe, especially Martinican chouval bwa, and Guadeloupan gwo ka. There's also notable influence of the pan-Caribbean calypso tradition and Haitian kompa."
"(or slightly radiused) tops and backs. The Irish bouzouki has also become integrated into some other western European musical traditions over the past forty years. Popularly used in the music of Asturias, Galicia, Brittany, Spain, and even the Scandinavian countries (in fact, there is even now a new Nordic branch of the instrument, having been modified further to suit the unique requirements of those musics). The instrument's role is usually a combination of interwoven accompaniment (usually a mix of open-string drones, two note intervals, bass lines and countermelody) and melodic play. Instrumental arrangements by musicians such as Ale Möller from"
"Irish bouzouki The Irish bouzouki () is an adaptation of the Greek bouzouki (Greek: μπουζούκι). Johnny Moynihan is credited with bringing the first ""tetrachordo"" (4 courses of strings) Greek bouzouki to Ireland and retuning it to G-D-A-D (in intervals he first used on the mandolin). In the mid-1960s, Moynihan established a presence for the instrument in Irish music with the folk trio Sweeney's Men. Alec Finn, first in the Cana Band and subsequently in De Dannan, introduced the first ""trichordo"" (3 courses of strings) Greek bouzouki into Irish music. In the early 1970s, Andy Irvine gave his Greek bouzouki to"
"Jean-Baptiste. Zouk is a style of music originating in Guadeloupe and Martinique during the 1980s. It has many influences, from Haitian, calypso, beguine and compas. The conventional zouk sound has a slow tempo, and it is sung in Antillean Creole, although it also has varieties that have developed in francophone Africa. It is popular throughout the French-speaking world, including France and Quebec. Early forms of Afro-Caribbean music in Jamaica was Junkanoo (a type of folk music now more closely associated with The Bahamas), the quadrille (a European dance) and work songs were the primary forms of Jamaican music at the"
"in America, in 1926, when the Peloponnesian musician Konstandinos Kokotis (1878 – after 1948) recorded two Peloponnesian folk songs with the accordionist Ioannis Sfondilias. This recording, reissued for the first time in 2013, reveals a ""folk"" melodic style never recorded before or since. The first recording to feature the instrument clearly in a recognisable somewhat more ""modern"" melodic role, was made in 1929, in New York. Three years later the first true bouzouki solo was recorded by Ioannis Halikias, also in New York, in January 1932. In Greece the bouzouki had been allowed into a studio for the very first"
"A year or so later, Lunny accompanied Irvine to Peter Abnett's workshop and commissioned a flat-backed instrument with the same specifications as the modified Greek Bouzouki, thus the Irish bouzouki was born. This modified bouzouki became fully integrated into Irish folk music when Irvine and Lunny popularized it with the advent of Planxty in 1972. Irvine, however, credits Moynihan with having ""brought the bouzouki to Ireland"" in his lyric to ""O'Donoghue's"", his memoir of his experience of the early folk revival days in Dublin in the early 60s. In a parallel development, Alec Finn, later with the Galway-based traditional group"
"families are related and the bouzouki is a part of that. At any rate, since the genesis of the Irish bouzouki in the late 1960s, luthiers have incorporated so many aspects of mandolin construction, particularly when building archtop Irish bouzoukis, that for most it is a moot point. For many builders and players, the terms ""bouzouki"", ""cittern"", and ""octave mandolin"" are more or less synonymous. The name cittern is often applied to instruments of five courses (ten strings), especially those having a scale length between 20 and 22 inches (500mm and 550mm). They are also occasionally called ""10 string bouzoukis"""
"""Pyrichios"", and ""Kordakas"" . Some of these dances have their origins in the ancient period and are still enacted in some form today. A range of domestically and internationally known composers and performers across the musical spectrum have found success in modern Greece, while traditional Greek music is noted as a mixture of influences from indigenous culture with those of west and east. A few Ottoman elements can be heard in the traditional songs, ""dhimotiká"", as well as in the modern bluesy rembétika music. A well-known Greek musical instrument is the bouzouki. ""Bouzouki"" is a descriptive Turkish name, but the"
"Zouk Zouk is a musical style originating from the Caribbean islands of Guadeloupe and Martinique and popularized by the French Antillean band Kassav' in the 1980s. Very rapid in tempo, the style lost ground in the 1980s due to the strong presence of Compas / kompa and kadans, the main music of the French Antilles. Today, zouk is the French Antilles compas (Kompa), also called zouk-love. The Creole word ""zouke"", ""sekwe"", or ""zouke"", etc. from the French verb ""secouer"" meaning ""shake intensely and repeatedly"" was used by Haitian artists who toured the French Antilles during the late 1970s and 1980s."
"the name is that it comes from the Persian expression tanbur e bozorg, meaning a large tanbur style lute. Buzuq The buzuq (; also transliterated bozuq, bouzouk, buzuk etc.) is a long-necked fretted lute related to the Greek bouzouki and Turkish saz. It is an essential instrument in the Rahbani repertoire, but it is not classified among the classical instruments of Arab or Turkish music. However, this instrument may be looked upon as a larger and deeper-toned relative of the saz, to which it could be compared in the same way as the viola to the violin in Western music."
"and is the only band that continues to include zouk béton in its repertoire, though to a lesser extent. Zouk Zouk is a musical style originating from the Caribbean islands of Guadeloupe and Martinique and popularized by the French Antillean band Kassav' in the 1980s. Very rapid in tempo, the style lost ground in the 1980s due to the strong presence of Compas / kompa and kadans, the main music of the French Antilles. Today, zouk is the French Antilles compas (Kompa), also called zouk-love. The Creole word ""zouke"", ""sekwe"", or ""zouke"", etc. from the French verb ""secouer"" meaning ""shake"
"bouzouki playing has a strong emphasis on countermelody. He currently collaborates with his wife Julie Fowlis, playing mainly Scottish Gaelic music and song. The Doorley brothers joined Danú in 1996. Donnchadh Gough, another founding member of the band, plays both bodhran and uillean pipes. He guests on Bodhran with Danú in Ireland and Europe. Amy Richter has performed on Bodhran with Danú during US tours since Dec 2017. Until 2016, the band's lead singer was Muireann Nic Amhlaoibh, who replaced earlier singer Ciarán Ó Gealbháin, a tenor who left to finish his education in May 2003, and who had in"
"bwa (tibwa) and syak, a bamboo rasp one metre long, grooved on both top and bottom, held with one end on the belly and the other on a door or wall and scraped with both hands. Though Martinique and Guadeloupe are most frequently known only for the internationally renowned zouk style, the islands have also produced popular musicians in various updated styles of traditional biguine, chouval bwa and gwo ka. The world-famous zouk band Kassav' remains easily the most famous performers from the island. Chouval bwa has been popularized by Claude Germany, Tumpak, Dédé Saint-Prix, and Pakatak. Martinique is also"
"many African countries, much of the popular music there is called jazz, though it has little resemblance to the African American genre of that name. There has been a push in recent years to focus on revitalizing the Botswana music industry instead of purchasing foreign releases. Most popular music in Botswana still comes from South Africa, United States, Europe or elsewhere in Africa. Gumba-gumba is a form of modernized Zulu and Tswana music, mixed with traditional jazz; the word ""gumba"" comes from township slang for party. Botswana hip hop crews include The Wizards, a long-standing crew that fuses hip hop"
"particularly popular with musicians who needed an instrument transportable enough to carry around easily or small enough to shelter under a coat. During parts of the 20th century, players of the bouzouki and baglamas were persecuted by the government, and the instruments were smashed by the police. The name comes from Turkish , a similar instrument. Baglamas The baglamas () (plural ""baglamades"") or baglamadaki (), a long necked bowl-lute, is a plucked string instrument used in Greek music; it is a version of the bouzouki pitched an octave higher (nominally D-A-D), with unison pairs on the four highest strings and"
"was introduced into Irish traditional music in the mid-1960s by Johnny Moynihan of the popular folk group Sweeney's Men. During the recording of their 1968 eponymous album, ""Sweeney's Men"", Andy Irvine also played Moynihan's bouzouki on the track ""Johnston"". Shortly after he returned from Eastern Europe in late 1969, Irvine met Dónal Lunny – who had been playing guitar up to that point – and gave him a Greek bouzouki he had brought back from his travels. Being left-handed, Lunny reversed the strings and critically, replaced the octave strings with unison strings, thus fundamentally changing the character of the instrument."
"Music of Guadeloupe The music of Guadeloupe encompasses a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouk's origins are in the folk music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa, and the pan-Caribbean calypso tradition. Carnival is a very important festival in Guadeloupe and Martinique. Music plays a vital role, with Guadeloupean gwo ka ensembles, zouk music and guadeloupean big bands marching"
"various locations throughout Martinique. Recently, Franck Nicolas presented ""Bélé-Jazz"", a style of jazz using the bélé rhythms as its basis. Music of Martinique The music of Martinique has a heritage which is intertwined with that of its sister island, Guadeloupe. Despite their small size, the islands have created a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Martinique and Guadeloupe. Zouk's origins are in the folk music of Martinique and Guadeloupe,"
"even 27 inches (66 to 68 cm). These longer-scaled instruments are generally acknowledged to possess greater volume, sustain, and tonal richness but some players find the stretches involved in fingering too difficult and so prefer shorter scale lengths. Irish bouzouki The Irish bouzouki () is an adaptation of the Greek bouzouki (Greek: μπουζούκι). Johnny Moynihan is credited with bringing the first ""tetrachordo"" (4 courses of strings) Greek bouzouki to Ireland and retuning it to G-D-A-D (in intervals he first used on the mandolin). In the mid-1960s, Moynihan established a presence for the instrument in Irish music with the folk trio"
"shows that strong similarity with meringue-compas.[21] Compas Compas (), or kompa, is a dance music and modern méringue in Haiti with African roots. The genre was popularized following the 1955 creation of the band Conjunto International by Nemours Jean-Baptiste. Compas is the main music of many countries such as Dominica and the French Antilles, etc. Whether it is called zouk where French Antilles artists of Martinique and Guadeloupe have taken it or compas in places where Haitian artists have toured, this méringue style is very influential in the Caribbean, Africa, Cape Verde, Portugal, France, part of Canada, South and North"
"bouzouki players may play single note melody instead of harmonizing accompaniment, but in live acoustic sessions with more than two or three players but it is difficult to produce sufficient volume to be heard over drumming and the piercing sound of fiddles and penny whistles. Although not traditional, the Irish bouzouki has found a home in the modern Irish traditional music scene. The Greek bouzouki was introduced to Irish traditional music in the late 1960s by Johnny Moynihan and then popularised by Dónal Lunny, Andy Irvine, and Alec Finn. Today's Irish bouzouki (usually) has four courses of two strings (usually)"
"Music of Burundi 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 presence"