David Darling & the Wulu Bunun - Mudanin Kata
This collaboration between the Wulu Bunun--amateur vocalists from the Taiwanese region of Wulu--and cellist David Darling is no average "world music" project. While albums like BUENA VISTA SOCIAL CLUB or Ry Cooder's duets with Malian guitarist Ali Farka Toure have the polish and overall sound of contemporary North American music, MUDANIN KATA is comparatively unadorned, maintaining a somewhat indigenous and "naďve" sound. The Wulu Bunun consist of both children and adults, and their unusual choral sound may remind some Western listeners of gospel, field hollers, and campfire sing-alongs. The harmonies, though, are utterly distinctive.
Darling's cello joins the Wulu Bunun in an unobtrusive manner, adding bowed backing or simple, repeating figures, or arpeggios in a way that blends naturally with the group's performance. Though there are a couple solo spots for both cello and group singing, the majority of the album consists of these delicately balanced duets. The performances were captured in a valley near Bunun, so the recordings have a wide, open-air feel to them that perfectly complements the organic, soul-stirring music.(source)
1. Ku-Isa Tama Laug (Weaving Song)
2. Lugu Lugu Kan-Ibi (Diligent Child)
3. Mudanin Kata (The Journey Home)
4. Manas Kala Muampuk (Joy Tonight)
5. Malas Tapag (Celebration)
6. Wulu Dream
7. Macilumah (Song for Concluding Work)
8. Pasibutbut (Prayer for a Rich Millet Harvest)
9. Mataisah-Hik Sagan (My Dream Last Night)
10. Wulu Mist
11. Bunun Tuza (The Bunun People)
12. Sima Cisbug Bav (Who Is Shooting on the Mountaintop?)
13. Malkakiv Malvanis (Song of the Trap)
14. Wulu Sky
15. Pis Lai (Song of Prayer for Rifles)
Just pass the beauty around it is thegoodone
“Taiwan’s indigenous people became known to the world through the unique eight-part harmonic singing of the Bunun people, which, in 1943 (when Japanese scholar Kurosawa Takatomo presented recordings of the Bunun music in Paris) caught the attention of Western ethnomusicologists. Nine years later, Kurosawa permanently changed musicologists’ ideas about the origins of music when he introduced a traditional Bunun song called ‘Pasibutbut’ (‘Prayer for the Millet Harvest’) to UNESCO. With its complete harmony, the song overturned the scholars’ original theory that music originated in single-note melodies, progressing to two-note harmonics, and then on to more complex arrangements.
‘Pasibutbut’, which has been called the ‘sound of nature’, is said to have been created by a member of the Bunun who was inspired by the sound of humming
bees, a rushing waterfall or the sounds made when crossing through a pine or
This is a prayer for peace, good health, safety and a rich harvest for the family. It must be sung when sowing and harvesting the crops, and during ceremonies only adult males may participate in the singing.
For women to sing it is taboo, and Bunun tradition suggests that this would be to the detriment of the harvest. The singing must also be continuous, with no breaks, or it will likweise affect the people’s health and the harvest for the coming year.”
From linear notes found here.