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非洲| 专辑 | 曲名 | Vers. | 分轨文件 | 时长 | 作曲/艺术家 | 描述 | 关键词 | Key | BPM | ||
|---|---|---|---|---|---|---|---|---|---|---|---|
|
Gomna [OCR560135 - 6] |
0 | 4'22 | Harouna Goge from P.D. | Gomma is a spirit characterised by his strength. Goge (African | 民族 goge calabashe 民族笛子（所有） | Fm | 136 | |||
|
|
Zataw (1st version) [OCR560135 - 7] |
0 | 3'56 | Harouna Goge from P.D. | Song intended for the spirit Zataw. Goge (African monochord vielle), | 民族 goge 尼日尔 民族女声独唱 | Fm | 80 | |||
|
|
Malahaj [OCR560135 - 8] |
0 | 4'02 | Harouna Goge from P.D. | Malahaj is a Muslim spirit who appeared in the form of a white-clad | 民族 goge 尼日尔 传统男声独唱 | B | 102 | |||
|
|
Damban Karfe [OCR560135 - 9] |
0 | 3'48 | Harouna Goge from P.D. | This piece is borrowed from a dance performance by the Gaya folk | 民族 goge 尼日尔 原声 | Bbm | 132 | |||
|
|
Babule [OCR560135 - 10] |
0 | 2'56 | Harouna Goge from P.D. | Babule is a spirit who reveals himself with great brutality. Goge | 民族 goge calabashe 尼日尔 | Am | 112 | |||
|
|
Zataw (2nd version) [OCR560135 - 11] |
0 | 3'49 | Harouna Goge from P.D. | Song intended for the spirit Zataw. Goge (African monochord vielle) & | 民族 goge 尼日尔 传统男声独唱 | Gbm | 152 | |||
|
|
Dogwa (2nd version) [OCR560135 - 12] |
0 | 7'33 | Harouna Goge from P.D. | Dogwa is a female spirit, which is defined as dangerous. Goge | 民族 goge 尼日尔 传统男声独唱 | Fm | 91 | |||
|
|
Dan Mamma [OCR560135 - 13] |
0 | 5'00 | Harouna Goge from P.D. | This tune is addressed to a spirit who is an alcohol-drinking. Goge | 民族 goge calabashe 民族笛子（所有） | Bm | 133 | |||
|
|
Dan Sasumbe [OCR560135 - 14] |
0 | 3'45 | Harouna Goge from P.D. | Dan Sasumbe is a dwarf spirit rather evil. Goge (African monochord | 民族 goge 尼日尔 传统男声独唱 | B | 107 | |||
|
Tchani Pamôdi [OCR560132 - 1] |
0 | 12'13 | Traditionnal | "Tchani, why?". About Tchani, an appaling crook who takes advantage | cimboa 民族 佛得角 巴突克舞 | Gm | 81 | |||
|
|
Baxu Cama [OCR560132 - 2] |
0 | 9'42 | Traditionnal | "Under the bed". This euphoric song pays homage to the unmatched | cimboa 民族 佛得角 女声民族合唱团 | Gm | 83 | |||
|
|
Santa Catarina [OCR560132 - 3] |
0 | 11'53 | Traditionnal | This song reflects a strong concern about the short-term future of | cimboa 民族 佛得角 女声民族合唱团 | Abm | 82 | |||
|
|
Dotor Ki Flâ [OCR560132 - 4] |
0 | 8'25 | Traditionnal | "It's the doctor speaking". Song in praise of virility. Acoustic | cimboa 民族 佛得角 女声民族合唱团 | Gm | 81 | |||
|
|
Sambuna E Finacon [OCR560132 - 5] |
0 | 16'13 | Traditionnal | About events which have affected the community. Acoustic guitar, | cimboa 民族 佛得角 女声民族合唱团 | Bb | 80 | |||
|
|
Reforma Agrária [OCR560132 - 6] |
0 | 7'01 | Traditionnal | "Agrarian reform". This song pays homage to the memory of Amilcar | cimboa 民族 佛得角 女声民族合唱团 | Eb | 82 | |||
|
|
Brinca Sima Minino [OCR560132 - 7] |
0 | 9'05 | Traditionnal | "I'm playing like a child". Acoustic guitar, cimboa (Cape Verdean | cimboa 民族 佛得角 女声民族合唱团 | Gm | 83 | |||
|
Mali Bero [OCR560127 - 1] |
0 | 4'44 | Jijo Baje from P.D. | Moolo (Nigerian lute) & male voice. | 民族 moolo Zarma and Songhay people 传统男声独唱 | Fm | 136 | |||
|
|
War and Victory against the
[OCR560127 - 2] |
0 | 7'41 | Jijo Baje from P.D. | Moolo (Nigerian lute) & male voice. | 民族 moolo Zarma and Songhay people 传统男声独唱 | Bb | 100 | |||
|
|
Birth of the Zarma Nation [OCR560127 - 3] |
0 | 5'54 | Jijo Baje from P.D. | Moolo (Nigerian lute) & male voice. | 民族 moolo Zarma and Songhay people 传统男声独唱 | Bbm | 104 | |||
|
|
Genealogy of Mali Bero [OCR560127 - 4] |
0 | 8'39 | Jijo Baje from P.D. | Moolo (Nigerian lute) & male voice. | 民族 moolo Zarma and Songhay people 传统男声独唱 | Fm | 106 |
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