1. Didgerido meets the orchestra
2. Traditional Didgerido and orchestra
3. William Barton and the Australian Youth Symphony
4. Australian Aboriginal
5.  This was a very interesting find as it incorporates the western bro classical orchestra and the aboriginal didgerido.  I really enjoyed how the sound of the didgerido was incorporated into the modern orchestra.  The produced effect is stunning in my opinion.  I think it is important to put things like this together, to mix the old and the new, the traditional and the "out of the box" stuff. We have been talking a lot about authenticity in the classroom and this is a great example of something authentic being mixed with something else.  I want to be in a brainstorming session where the creation of an event like this happens.  How fun would it be to allow this kind of creation into our own ensembles.  Perhaps using an instrument with traditional instruments orthosenof an ethnic context.  We must allow of students to create and we as instructors must be willing to allow creation to take place.  This is how we can move forward and get student buy in into concepts of world music that they may find different and strange.

We continue our journey into the musical depths with some kalimba also known as the thumb piano.

1. Untitled Kalimba solo
2. Conny Verano
3. Sub-Saharan Africa
4.  Kalimba
5.  This is an interesting piece because of the interesting plucked instrument used.  I find that this instruments tone is very iconic.  The first time I heard this instrument used in western music was in the broadway musical The Lion King.  I thought this would be an interesting musical topic as authenticity comes into question.  I find it interesting that many different kinds of musicians study other cultures instruments and try and perform them with as much authenticity as they can muster.  But is this authentic?  Are we doing a disservice by not showing this instrument being played in its natural surrounding?  I think we can still be authentic in this instance.  I believe it is our job as music educators to try and be as authentic as possible.  In order to keep music like this in the forefront of our minds, we must be willing to experience the instrument on every level even if the performance isn't as authentic.

I believe it is time to move into something I find to be a little more familiar, yet is very different from what I have previously experienced.

1. Unknown Title
2. Zimbabwe Marimba Band
3. Traditional African Marimbas
4. Zimbabwe
5.  Being a percussionist I found it very interesting to listen to this particular ensemble.  Obviously percussive in nature and definite use of ostinati to give the piece it's characteristic African sound.  I find the most interesting part if thus particular type if instrument is the intonation itself.  It seems that many cultures concern themselves with intonation, but many cultures do not.  This maybe another source for the characteristic sound.  The pieces musical structure is strophic in my estimation as there is an introduction then 4 verses with a repeated ending that fades out.  The piece is simple in harmonic structure and never leaves the original key and moves simply between tonic, subdominant and dominant chords.  This maybe a limitation if the instrument itself.

And we continue our trek towards music that may be unconventional by some.

1. Bando Tamasaburo
2. Dancer, Kabuki Singers and instruments
3. Japan
4. Voice, traditional kabuki instruments: shamisen (stringed instrument), ko-tsuzumi and o-tsuzumi (drums), hyoshigi (wood clappers)
5. This piece is interesting in the fact that it can be classified using multiple descriptions.  This piece falls out of the traditional western music ideology in many key ways.  Harmonic structures that we may be used to are not present.  Traditional melodic patterns are also not present.  The singing style is what I would describe as a typed if recitative that is indicative of our western opera style, but the performer on stage is not the person performing the music.  There is a sense of rhythm, but the time signature is changing quite frequently.  This would make sense as a recitative type passage.  The drums are used to accent movement and to drive the dancers movement.  I thought it was also interesting how the ensemble used tempo as a tool to express certain emotions throughout the performance, even though the performers face is not visible.