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KANDELAB, Volume 2: 102 Notated Haitian Folk And Vodou Songs Broché – 4 juin 2015

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Broché, 4 juin 2015
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Description du produit

Présentation de l'éditeur

Kandelab: 102 Notated Haitian Folk and Vodou Songs offers the transcribed and notated renditions of songs from Haiti’s musical traditions. Music is considered a universal language, and each culture contributes to its vocabulary and its syntax. This book documents for posterity 102 songs from Haiti’s rich repertoire ranging from sacred hymns, to folk and rara songs. Unlike its predecessor, Kandelab 101, which featured popular pieces, this book focuses instead on lesser known Vodou songs like Adoum Gidi Gidi and folktales from the Central Plateau such as Malvwazen. An accompanying 4CD box set(sold separately) includes a melodic rendition on piano as well as a reference version performed by the author, Georges Vilson, to the rhythm of three traditional drummers. Kandelab: 102 Notated Haitian Folk and Vodou Songs will quickly become an invaluable resource for musical education and a tool for the preservation of Haiti’s culture. All those who have dedicated themselves to the advancement of Haitian culture and those wishing to learn more about Haiti will welcome the publication of this musical anthology.

Biographie de l'auteur

Born in Port Au Prince, Haiti, Georges Vilson grew up in a family which valued Haitian culture and its musical traditions. His mother ignited his passion by immersing him in a magical world of music, replete with Creole lullabies, traditional, folk, classical and religious hymns. Early on, she recognized his musical gift and nurtured his vocal and musical talents. At the tender age of 7, he was asked to a perform a Christmas standard, Gloria In Excelsis Deo, at a local radio station. He later joined a choir Etwal Karayib, conducted by his older brother Jean Vilson who exposed young Georges to a full repertoire of Haitian folk and Vodou songs as well as traditional dances. It is in this environment that he learned to play the Conga drums and dance to Haiti's ancestral rhythms: kongo, petwo, ibo, yanvalou, djoumba, mayi and many more. Georges’ involvement with the choir introduced him to other likeminded choirs such as the Club Lanbi in Carrefour. Performing and promoting Haitian folk and Vodou rituals was not without risks under Papa Doc Duvalier’s oppressive regime. Most youth group engaged in raising awareness and appreciation for traditional music were considered subversives and accused of having communist allegiances. When Georges migrated to the US in the late 70’s, his friends, impressed with his powerful and expressive voice, encouraged him to perform for a larger audience. The critical acclaim which followed his musical appearances secured for Georges a very prestigious honor. In 1985, he was chosen, to represent Haiti at the 12th Annual Youth Festival in Moscow, USSR. His interpretation of Haiti's musical traditions to an international audience was a life altering experience for Georges. He returned home with the resolve that music would play a central role in his life. He pursued his dream by matriculating at the City College of New York’s prestigious Music Performance Program, where he earned a BFA in music performance. Georges went on to join the Board of Education of New York where he taught choral music, and directed steel bands as well as more traditional ones. He then enrolled at Brooklyn College of New York and earned a Master’s Degree in Education. Today, after 20 years of classroom experience, Georges Vilson teaches choral music exclusively. Work already published by author: KANDELAB, Volume 1, 101 Notated Notated Haitian Folk And Vodou Songs.

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