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The project "Sound's Seeds

Sound's Seeds was founded in 2004, based on an idea and initiative of Martino Nicoletti. It is developed through the collaboration of the musician and sound engineer Roberto past and with the support of distribution Borgatti Edizioni Musicali.

words, images, sounds and music come together seamlessly in a single project. The spark that set in motion is the search for sounds from worlds in which, even today, music is considered to have a special magic power, the uncommon ability to reach and explore the depths of the invisible world.

With the shape and size of a travel diary with an attached music CD recorded entirely in the field, each work is the privileged place where the experience, the meetings, the visual power and visionary images and the even sharper, sound blend together to give life to the slim, versatile and, above all, alive.

Conceived in this way, the series is targeted primarily at people who, beyond the mere interest in ethnic music, have a sincere desire to get in touch with the soul of distant cultures. To approach the beauty, strength, poignant poetry, but also to accept its complexity and many facets.

genuine desire to escape the stereotypes regarding the 'exotic'. Let yourself be taken by the hand so to be guided along paths unknown to show that demand balanced according to a variety of languages, the expression of those infinite harmonics that spontaneously occurring around every human experience.

Sound like an arrow and harpoon. Arrow shot toward the origin of things, from creative direction of the vibrations that, in the early days of the past, gave birth to the universe. A spike that, in allowing man to enjoy a direct source of occult power, offers the opportunity to manipulate for their own benefit or for bringing about a transformation in its most intimate consciousness.

music as an expression of a civilization. Music dislocated and vehicles based on a very careful philological work of translation and contextualization.

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WAT-PS: The Musical Heritage of traditional Southern Laos


The Laos has one of the most original musical heritage of South East Asian heritage built up over the centuries thanks to the mutual cultural influences between civilizations determinatesi Laotian and Thai, Cambodian, Vietnamese and Chinese.

Among the lesser-known musical reality of the whole territory of Laos is the classical music tradition of its southern region of the country, the region identified with the district of Champasak. In this narrow geographical and cultural area - known to many by dell'estesissimo archaeological site of Wat Khmer-Pu, now UNESCO World Heritage in 2000 - this is still a double musical expression of ancient origin: the Seb-We (Or Ry-Ma-I) and Seb-Gnaï. In the first case, the musical tradition rests in the use of stringed instruments (so), percussion (rang-nat-kong and Vong) and mouth organs (Khen). This kind of performance was traditionally used as a form accompanying choirs and only as a prelude and conclusion of vocal works. The second genre, the Seb-Gnaï provides for the use of their own musical instruments of the Seb-We (with the exception of stringed instruments and organs in the mouth) with the addition of some other specific drums and a wooden wind (pi). Unlike the Seb-we, the executions of Seb-Gnaï not have a role as musical accompaniment, but constitute a real and their own musical expression, which takes the form of processions on the occasion gifts, religious processions, theatrical performances of the great Indian epics of Ramayana.

The historical events that, in the not too distant past, led to the fall of the Laotian kingdoms and the establishment of a socialist government, led to a rapid deterioration of the musical traditions of southern Laos, blamed for a "reactionary", especially given Read their character and their close proximity to the court life. Because of these assumptions, for many years, the musical performances of the Seb-Seb-Gnaï us and were totally banned from the country. It 'was just in time very recent - in response to the changing cultural climate in Laos and the emergence of an interest in the preservation and recovery of indigenous cultural traditions - the musical traditions have been tentatively re-appear in public life and then reappear in some contexts of religious and ceremonial of southern Laos.

The CD offers a series of songs of their classical repertoire performed by the orchestra of the Seb-Gnaï of Champasak. Recorded live in February 2006, the music tracks are a rare example of one of the most delicate musical heritage of South East Asia.

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VOICES FROM THE WOOD: The Songs of the Hunters of Nepal Kiranti


Allocated in one of the most remote and beautiful regions of eastern Nepal, the Kiranti are, nowadays, one of the last Himalayan ethnic groups to maintain arcaicissima life in a form of hunting for certain species of beasts of the forest.

A fighter who, without any need to respond to subsistence is practiced in the form of a long and complex religious ritual, worship and nurture officiated for some specific classes of spirits and gods of the forest and to reinforce a pact, signed in Roman between the mythical ancestors of the lineage of Kiranti and invisible entities of the forest.

Kiranti According to the tradition of hunters, each shipment of ritualized hunt is preceded, accompanied and followed by songs - set according to the form of a secret ritual language which is attributed a magical power - that are intended to curry favor with the entities invisible wild land, bringing about the stop and help obtaining an invisible essence, hidden in dense forest, which is believed to be directly dependent on the prosperity of the village, as well as the vital force and health of human beings.

recurring theme of many of these songs is also the description of a mythical hunt for an invisible deer, a theme that is interwoven with the recurring motif of a "mystical journey" made by the souls of the hunters through different sources of "power" hidden in the forest where the stop takes place, and scattered along the mountain peaks that dot.

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GANDARWA: The Magic Sound of the Nepali sarangi

The sarangi is the musical instrument arc best known and most popular of Nepal. Emblem of this country and its culture, the sarangi is, for countless centuries, the main tool of Gandarwa, the caste of itinerant musicians and singers of Nepal, which once roamed the different regions of Nepal, telling stories, telling and myths legends.

The CD contains a series of extraordinary only be interpreted by the master sarangi Shyam Nepali, one of the youngest musicians Nepalese belonging to a family tradition of Gandarwa Kathmandu several generations old and boasting one of the most illustrious exponents of this particular musical tradition of Nepal.

Inspired by traditional designs of their own tradition and reinterpreting Gandarwa thanks to a powerful and personal expressiveness, the set of executions of Shyam Nepali, is a singular testimony of contemporary and traditional music gandarwa contamination of the latter with the musical traditions Tibeto-Burman of Nepal.

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GHARB: The Mystic Tradition of the Ismailis of Hindukush

In the northern part of Pakistan's Chitral region, at the foot of the Hindukush, is a small community loyal to the Shi'ite Ismaili.

Even today there survives an ancient dance-music repertoire characterized by the mystic character of the ancient Persian language and the use of the Gharb, a musical instrument of the lute family. Instrument sacred to excellence, the Gharb is used in the course of collective ritual séance (sama) organized in the villages of the region, with the main purpose of praising Allah.

incantatory melodic sound of the Gharb, together with the song of celebration, is believed to have the unique power to create a special climax temporarily capable of bringing about a close communion between the present and the divine dimension.

The séance, which are typically driven by an elderly singer accompanied by the sound of Gharb and a frame drum (daf), contemplate, not infrequently, an occurrence of ecstatic states among those present gathered for the event. This same event is also supported by the prolonged production a condition of hyperventilation respiratory rhythm accompanied by vocal.

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Chary: Songs from the Tantric Ritual Dances of the Kathmandu Valley

Chary The dances have their origin in the Kathmandu Valley, in parallel with the affirmation of tantric rituals related to religious practices, both Hindus and Buddhists. The dances were originally performed by priests who, physically representing the mudra of their gods, the gods themselves evoked and embraced in their body. The

Chary, whose term has the meaning of "spiritual" were so ecstatic dances whose execution took place in sessions rituals that only the initiated could participate in worship. The priests wore garments of the deities, peaceful and angry, and attributes that have their own classical iconography: crowns, jewelry, clothing of specific colors. After much prayers and invocations group dance accompanied by the beautiful melodies of the singing of the faithful. The words of songs describing in detail the attitudes and postures of the tantric deities, in a perfect matching of gestures and words.

traditional practice is a dimension of absolute secrecy, dances Chary, were able to enter in the theater only in recent years. Their knowledge is still extremely limited and passed by dancers who receive a second line of inheritance within specific lineages. The work

collects a rare selection of songs on the most important peaceful and wrathful deities of the Tantric pantheon - Nateswor, Bhairavi, Vajrayogini, Manjusri, Pancha Buddha, Sodasya Lasa, Ganesh, Kumari - recorded on the ground in spring 2007.

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The CD" The Path of Light "

A work devoted to the ritual music of Bon, the pre-Buddhist religion of Tibet















The Path of Light - the first series CD Sound's Seeds in the Autumn of Power created and directed by Martin Nicoletti and distributed by Borgatti Edizioni Musicali - is wide-ranging journey through the ritual music of Bon, the pre-Buddhist religion Tibet, one of the lesser known spiritual traditions of Asia.

Comprising a CD and a large and elegant color booklet - over one hundred pages and photographs accompanied by text aimed at providing a broad introduction to the history, philosophy, myths, ritual, traditional musical instruments of the Bon religion - the work is a vast anthology devoted to the liturgical music of this particular spiritual tradition of Tibet.

entirely recorded live at the monastery of Bon Triten Norbutse in Nepal, the CD - made with the support of the Ministry of Foreign Affairs and the CNR - brings together a selection of rare songs, music and mantra belonging, for the most part, to the esoteric path of Dzogchen, or Great Perfection. Authentic jewel of the work is the collective performance of Cho, meditative ritual of self-sacrifice, as is common in the tradition of Bon-po.

addition to scientific value, and dissemination, publication of the work is intended to support activities to safeguard cultural Bon monastery of Triten Norbutse.

For any further information:
info@borgattiedizioni.com

bluoltremare@yahoo.it

To purchase this CD:
http://www.thepathoflight.it
http://www.cnimusic .it/newsita1.htm

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