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Magnificent, utterly intense Qawwali singing by the master.

The eighteenth-century poetry of Shah Abdul Latif Bhittai as celebrated nightly by waee faqirs, whose penetrating lutes and high whirling voices bridge musical and mystical experience.

Chacoan Amerindian music: rich, varied, open Nandevan styles; powerful, monolithic Ayorean. Songs of love and battle, songs to mark the calendar, shamanist visions, chants for the gods…

On a kind of miniature guitar, laminated, with steel strings — wonderful, virtuosic performances of the poignant, melancholic music of the Campesinos and the Cholos of Peru.

‘Romances’, work-songs and dances from deep Galicia, the Tras-0s-Montes in the north-east, featuring the Portuguese bagpipe, distinguished by its ancient, oscillating, fluctuating, microchromatic scales.

The greatest singer of his generation presenting the classical music of Azerbaijan, accompanied on the tar lute and the kamancha viol by the Mansurov brothers.

‘One of the most prominent representatives of Agra-Atrauli gharana. She masters all of its specificities perfectly… touching fragility and deep emotion.’ Long, fluid, scrupulously modulated, droning, ecstatic.

Intense Moroccan singer improvisatorially lighting up the rare, refined nineteenth century wasla style, in suite form, with chamber orchestra — qanun zither, ud lute, kaman violin and riqq percussion.

Eighteenth and nineteenth century folk repertoire featuring horn, overtone flute, panpipes, vertical flute, shepherds’ trumpet — and violin or balaika.

Ragas with intensely controlled and expressive singing from South India, in the uncommon, neglected Carnatic tradition.

Cantu a chiterra, in which competing singers take turns showing off vocal daring, breath control, endurance and style, in settings of nineteenth century poetry.

Fine singing and oud-playing, with zither and violin, and the percussion which characterises the hejaz style — nasgar and naqrazan, darbuka and tar, both held at the same time in the left hand, struck by the right.

Fervid vocal intensity from the venerable Tijaniyya and Muridiyya brotherhoods, singing hymns and poems to the glory of the Lord, live in concert.

Music for love and thanks, circumcision, tattoing and wrestling (though not all at the same time), usually sung by women, accompanying themselves on calabash or water-drum. The men play drums and xalam lute.

Popular song, often with bow accompaniment, sometimes mulumba (stuck in the mouth and scraped); and the jazzy mazurkas, waltzes and country-dance of kamtole, for string ensemble and bass drum.

The sitar maestro recorded in 1986, performing two raga and a dhun in the classical style of the Senia Beenkar Gharana, with its focus on melodic and rhythmic elaboration.

Fula flute and keronaru lutes, the wedding music of Karanko xylophone ensembles, Mandingo three-string harps and Christian hymns, the ceremonial music of Themne and Mende secret societies…

A lavish array, with scattered lines of descent (Gypsy, Jewish, Ukrainian, German and so on), from rootsy and robust to other-worldly. Pipes and drones (fujara), dulcimer, violin, polyphony from the heart of Europe.

Superb, timber-shivering example of the city’s more elevated style of fado. Highly recommended.

From the Ghaobata and Bahomea regions — funeral songs, dances and a four-bamboo organ played by the wind, and panpipe ensembles, with their characteristic twin drones, an octave apart.

Based on the raga and pan, these short hymns to Shiva, performed by the oduvar cantors, are sung at daily rituals and for calendar feasts in temples of Tamil Nadu.

Deeply moving violin-playing, unfolding and illuminating the emotional twists and turns of a single, hour-long raga.

Ritual music from Tamil country performed by nagasvaram oboes, tavil drums, talam castanets, and droning harmonium, or sruti petti, without a keyboard, powered by bellows.

Startlingly fresh and unusual, these timeless, traditional peasant songs from north-west Spain — mostly with percussion accompaniment, sometimes with flute, bagpipe, oboe or rebec.

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