https://www.youtube.com/watch…
French Music in French Cafe: Best of French Cafe Music (French Cafe Accordion Traditional Music)

French music and French cafe. 1 Hour of best of French cafe music and
French cafe accordion traditional music. Collection 1 with beautiful
video of French music playing in french cafe is here: http://youtu.be/AsSnv75F1Es.

Hear the ‘Modern French Music’ collection here: http://youtu.be/eUf13tDt1lA

New French Accordion French Cafe album: https://youtu.be/-Y0DA2dVoTk

New Happy French music here: https://youtu.be/FkP2PHqV1Wk

Bal-musette is a style of French music and dance that first became
popular in Paris in the 1880s. Auvergnats settled in large numbers in
the 5th, 11th, and 12th districts (arrondissements) of Paris during the
19th century, opening cafés and bars where patrons danced the bourrée to
the accompaniment of the cabrette (a bellows-blown bagpipe locally
called a “musette”) and often the vielle à roue (hurdy-gurdy).

Parisian and Italian musicians who played the accordion adopted the
style and established themselves in Auvergnat bars especially in the
19th arrondissement.

When Italians began introducing new rhythms
like the waltz and polka into the traditional musical form and began
playing it on recently introduced hybrid accordion, conflicts arose, and
the Italian and Auvergnat styles split. By the end of 19th century,
there were three kinds of bals-musette establishments:
• bal des familles - Auvergnat
• bal musette populaire - Italian
• grinch or bal de barrière - seedy hangouts frequented by low-lifes and so-called bohemians.

These places often were frequented by members of the French upper-class
looking for excitement among the poor and downtrodden. Some
establishments even staged mock police raids for their patrons’ benefit.
Performers of this era include Antoine Bouscatel, Émile Vacher, Martin
Cayla, Charles Péguri, and Gus Viseur.

Musette dance forms arose
from people looking for easier, faster and more sensual dance steps, as
well as forms that did not require a large hall. “Musette-forms” that
established themselves as variations to popular dances of the day
include:
• tango-musette
• paso-musette
• valse-musette,
with a special variation called la toupie (”the top”), where dancers are
very close and turn around themselves very regularly.

An original musette dance also appeared, known as java.

Admission to most bals was free, but dancers bought dance tokens at the
cash-desk. These tokens were made of metal in various shapes with the
name of the hall stamped on one side. In the middle of the dance, the
bal director walked between the couples with a bag and the dancers
turned-in a token

By 1945, the bal-musette became the most
popular style of dance in France and its biggest stars were widely known
across the country. Its popularity declined drastically beginning
around 1960. A revival of bals has begun, especially in larger cities,
and a modern form of the musette is establishing itself.

Refer here for more information:
http://en.wikipedia.org/wiki/Bal-musette

This french music collection is compiled for your enjoyment by SensualMusic4all.

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28) Classical French
28) français classique

E. Dhātumanasikāra Pabba

E. Section sur les éléments

En outre,
Bhikkhus, un bhikkhu réfléchit sur ce très kāya, mais il est placé,
Mais il est disposé: “Dans ce kāya, il y a l’élément terre, le
L’élément d’eau, l’élément de feu et l’élément d’air. “

De même que, bhikkhus, un métier habile ou un
L’apprenti boucher, ayant tué une vache, serait assis à la croisée des chemins
Le découper en morceaux; De la même manière, bhikkhus, un bhikkhu réfléchit
Ce très kāya, mais il est placé, mais il est disposé: “Dans ce
Kāya, il y a l’élément terre, l’élément eau, l’élément feu
Et l’élément aérien. “

Il habite donc kāya en kāya
En interne, ou il s’habille en observant kāya dans kāya à l’extérieur, ou il habite
En observant kāya en kāya en interne et en externe; Il observe l’observation
La samudaya des phénomènes dans kāya, ou il s’habille en observant le passage
Loin des phénomènes dans kāya, ou il observe observer les samudaya et
Passage de phénomènes dans kāya; Ou bien, [réalisant:] “c’est kāya!”
Sati est présent en lui, juste dans la mesure du simple ñāṇa et de la simple
Paṭissati, il habite détaché, et ne s’accroche à rien dans le
monde. Ainsi, bhikkhus, un bhikkhu habite observant kāya dans kāya.

https://www.youtube.com/watch?v=KLblVt7QL8M
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