UPC · Release
Le Monde des musiques traditionnelles
Various Artists
3415820000012
98 tracksReleased 2018-01-01Ocora
Last verified:
3415820000012 is the Universal Product Code (UPC barcode) for the release “Le Monde des musiques traditionnelles” by Various Artists, released 2018-01-01 on Ocora. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 98 tracks, each with its own ISRC.
Format
341GS1 prefix
5820Company prefix
00001Product
2Check digit
- GS1 prefix:
- Country/region prefix assigned by GS1 (e.g. 060/061 = USA/Canada, 50 = UK).
- Company prefix:
- Label/distributor identifier assigned by the local GS1 office.
- Product:
- Unique product number assigned by the company.
- Check digit:
- Modulo-10 check digit that validates the rest of the barcode.
Credit Chain
UPCLe Monde des musiques traditionnelles
IPI15 songwriters
Track List (98)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | N’Doondo / Garbaare [Mali] | — | ||
| 2 | Binkontina, Pt. 1 (danse des grands initiés) [Burkina Faso] | — | ||
| 3 | Yenniljio (Chant de mariage) [Sénégal] | — | ||
| 4 | Irikpe wanreyou [Bénin] | — | ||
| 5 | Chant destiné au maïdawa [Niger] | — | ||
| 6 | Zavan (mil mûr) [Cameroun] | — | ||
| 7 | Chant de culte du Bwiti Dissumba [Gabon] | — | ||
| 8 | Divoto [Centrafrique] | — | ||
| 9 | Viki [République démocratique du Congo] | — | ||
| 10 | Cimdolobwa [Tanzanie] | — | ||
| 11 | La femme abandonnée [Kenya] | — | ||
| 12 | Chant à voix chuchotée et cithare inanga [Burundi] | — | ||
| 13 | Muroro [Zimbabwe] | — | ||
| 14 | Dimanche grand matin [île de la Réunion] | — | ||
| 15 | Raha misy potraka (si quelqu’un tombe) [Madagascar] | — | ||
| 2-1 | Dhikr [Maroc] | — | ||
| 2-2 | Khlaç [Algérie] | — | ||
| 2-3 | Taqsîm quânûn‐layâlî‐mawwâl [Égypte] | — | ||
| 2-4 | Si son nom est cité (Fa in dhukirat) [Machreq] | — | ||
| 2-5 | Ayyahâ al‐zabyu ma’sûl al‐lamâ (Ô gazelle à la salive de miel) [Arabie Saoudite] | — | ||
| 2-6 | Huma al‐hobb fa‐slam bi‐l‐hashâ [Yemen] | — | ||
| 2-7 | Taqsîm en maqâm awj [Irak] | — | ||
| 2-8 | Dem Nefesi [Turquie] | — | ||
| 2-9 | Üç güzel oturmus (makam Eviç) [Turquie] | — | ||
| 2-10 | Däramäd, Bardasht, Maye (Zabol) [Azerbaïdjan] | — | ||
| 2-11 | Goycha golu [Azerbaïdjan] | — | ||
| 2-12 | Bayât‐r ‘Ajam, Tahrir‐e bahr‐e nur, Qaratche, Razavi, tahrir‐e Mobarqa’ (dastgâh‐e Râst‐Panjgah) [Iran] | — | ||
| 2-13 | Zikr [Ouzbékistan] | — | ||
| 2-14 | Aylading [Ouzbékistan] | — | ||
| 2-15 | Biraqsam [Tadjikistan] | — | ||
| 2-16 | Nuskhä Märghul (muqum Nava) [Chine – Xinjiang] | — | ||
| 2-17 | Uyahan Zambuu Tiviin Naran [Mongolie] | — | ||
| 3-1 | Manaqib khawaja mueenuddin chishti (louange au maître des maîtres) [Pakistan] | — | ||
| 3-2 | Man pasand (dhun) [Inde du Nord] | — | ||
| 3-3 | Maalaniya bandhanavara (Raga Darbari Kanhada, drut yîntal) [Inde du Nord] | — | ||
| 3-4 | Raga Marwa – Alap (extrait) [Inde du Nord] | — | ||
| 3-5 | Raga Desh – Dhamar [Inde du Nord] | — | ||
| 3-6 | Raga Madhuvanti – Jhaptal [Inde du Nord] | — | ||
| 3-7 | Kriti “Paramatmudu” (Raga Vagadhiswari, tala adi) [Inde du Nord] | — | ||
| 3-8 | Pare loye jao amay (emmène‐moi sur l’autre rive) [Bangladesh] | — | ||
| 4-1 | Khangdeuk (chant de minuit) [Laos] | — | ||
| 4-2 | Dao ngu cung [Viêt‐Nam] | — | ||
| 4-3 | Ujung laut (le rivage) [Indonésie] | — | ||
| 4-4 | Pangapungan, pamapag ibu, badud rengkong (extrait) [Indonésie] | — | ||
| 4-5 | Candra kanta [Indonésie – Bali] | — | ||
| 4-6 | Libation dorée [Tibet] | — | ||
| 4-7 | Dao yi (battre les vêtements) [Chine] | — | ||
| 4-8 | Xigong ci (poème du Palais de l’Ouest) [Chine] | — | ||
| 4-9 | Ilgagi (“si un seul moment…”) [Chine] | — | ||
| 4-10 | Jajinmori [Corée] | — | ||
| 4-11 | Gion shôja (temples de Gion) [Japon] | — | ||
| 4-12 | Ashibi shongane bushi [Japon – Okinawa] | — | ||
| 5-1 | Sorg aldri du min pike (ne pleure jamais ma fille) [Norvège] | — | ||
| 5-2 | Halling etter Gabriel Reed [Norvège] | — | ||
| 5-3 | A moll polska de Rödön [Suède] | — | ||
| 5-4 | Polska efter Janne Mårtensson [Suède] | — | ||
| 5-5 | Tel tu étais… [Russie] | — | ||
| 5-6 | Jaani, Jaani, Jaanokene (Jean, Jean, petit Jean) [Estonie] | — | ||
| 5-7 | The Mountain Road, Old Concertina Reel [Irlande] | — | ||
| 5-8 | Hulyet [chansons Yiddish] | — | ||
| 5-9 | Dolu ublem (en descendant par Ublo) [République Tchèque] | — | ||
| 5-10 | Valaské spod Pol’any [Slovaquie] | — | ||
| 5-11 | Hármas táncdal (triple danse) [Hongrie] | — | ||
| 5-12 | Adilei (chant de voyage) [Géorgie] | — | ||
| 5-13 | Yodel naturel (Höimaitli) [Suisse] | — | ||
| 5-14 | Dale himariote dale ! [Albanie] | — | ||
| 5-15 | Se kainourgia varka mpika [Grèce] | — | ||
| 5-16 | Quatre versions de l’Erotikritos [Crète] | — | ||
| 5-17 | Disisperada [Italie – Sardaigne] | — | ||
| 5-18 | Tarantella [Italie – Sicile] | — | ||
| 5-19 | Jean‐Louis ha Marivon [France – Centre‐Bretagne] | — | ||
| 5-20 | Mendiaren deia (l’appel de la montagne) [France – Pays Basque] | — | ||
| 5-21 | Txorittua noat hoa ? (petit oiseau, où vas‐tu ?) [France – Pays Basque] | — | ||
| 5-22 | Terzetti rusinchi [France – Corse] | — | ||
| 5-23 | Cerca [France – Corse] | — | ||
| 5-24 | Fado das andorinhas (fado des hirondelles) [Portugal] | — | ||
| 5-25 | U [Espagne – València] | — | ||
| 5-26 | Tangos [Espagne] | — | ||
| 6-1 | Don’t Let the Devil Ride (ne laissez pas le diable vous conduire) [États‐Unis] | — | ||
| 6-2 | Las dos Huastecas [Mexique] | — | ||
| 6-3 | Dügü [Honduras] | — | ||
| 6-4 | El misterio de tus ojos (le mystère de tes yeux) [Cuba] | — | ||
| 6-5 | Francisquito [Cuba] | — | ||
| 6-6 | Séramik épi potri [France – Martinique] | — | ||
| 6-7 | Pantalon – Jardin [France – Guadeloupe] | — | ||
| 6-8 | Sangueo [Venezuela] | — | ||
| 6-9 | El diablo suelto (le diable échappé) [Venezuela] | — | ||
| 6-10 | Zumba que zumba [Venezuela] | — | ||
| 6-11 | Matilde Lina [Colombie] | — | ||
| 6-12 | Marili [Colombie] | — | ||
| 6-13 | La que se pega (celle qui se colle) [Colombie] | — | ||
| 6-14 | Tikankginhü [Brésil] | — | ||
| 6-15 | Uakamimbütaka [Brésil] | — | ||
| 6-16 | Wyrakamytã mi [Paraguay] | — | ||
| 6-17 | Aiwisku [Bolivie] | — | ||
| 6-18 | Color color Punchituchay [Pérou] | — | ||
| 6-19 | Mi Buenos Aires querido [Argentine] | — | ||
| 6-20 | Canto a mi terruño [Argentine] | — |
N’Doondo / Garbaare [Mali]
—
Binkontina, Pt. 1 (danse des grands initiés) [Burkina Faso]
—
Yenniljio (Chant de mariage) [Sénégal]
—
Irikpe wanreyou [Bénin]
—
Chant destiné au maïdawa [Niger]
—
Zavan (mil mûr) [Cameroun]
—
Chant de culte du Bwiti Dissumba [Gabon]
—
Divoto [Centrafrique]
—
Viki [République démocratique du Congo]
—
Cimdolobwa [Tanzanie]
—
La femme abandonnée [Kenya]
—
Chant à voix chuchotée et cithare inanga [Burundi]
—
Muroro [Zimbabwe]
—
Dimanche grand matin [île de la Réunion]
—
Raha misy potraka (si quelqu’un tombe) [Madagascar]
—
Dhikr [Maroc]
—
Khlaç [Algérie]
—
Taqsîm quânûn‐layâlî‐mawwâl [Égypte]
—
Si son nom est cité (Fa in dhukirat) [Machreq]
—
Ayyahâ al‐zabyu ma’sûl al‐lamâ (Ô gazelle à la salive de miel) [Arabie Saoudite]
—
Huma al‐hobb fa‐slam bi‐l‐hashâ [Yemen]
—
Taqsîm en maqâm awj [Irak]
—
Dem Nefesi [Turquie]
—
Üç güzel oturmus (makam Eviç) [Turquie]
—
Däramäd, Bardasht, Maye (Zabol) [Azerbaïdjan]
—
Goycha golu [Azerbaïdjan]
—
Bayât‐r ‘Ajam, Tahrir‐e bahr‐e nur, Qaratche, Razavi, tahrir‐e Mobarqa’ (dastgâh‐e Râst‐Panjgah) [Iran]
—
Zikr [Ouzbékistan]
—
Aylading [Ouzbékistan]
—
Biraqsam [Tadjikistan]
—
Nuskhä Märghul (muqum Nava) [Chine – Xinjiang]
—
Uyahan Zambuu Tiviin Naran [Mongolie]
—
Manaqib khawaja mueenuddin chishti (louange au maître des maîtres) [Pakistan]
—
Man pasand (dhun) [Inde du Nord]
—
Maalaniya bandhanavara (Raga Darbari Kanhada, drut yîntal) [Inde du Nord]
—
Raga Marwa – Alap (extrait) [Inde du Nord]
—
Raga Desh – Dhamar [Inde du Nord]
—
Raga Madhuvanti – Jhaptal [Inde du Nord]
—
Kriti “Paramatmudu” (Raga Vagadhiswari, tala adi) [Inde du Nord]
—
Pare loye jao amay (emmène‐moi sur l’autre rive) [Bangladesh]
—
Khangdeuk (chant de minuit) [Laos]
—
Dao ngu cung [Viêt‐Nam]
—
Ujung laut (le rivage) [Indonésie]
—
Pangapungan, pamapag ibu, badud rengkong (extrait) [Indonésie]
—
Candra kanta [Indonésie – Bali]
—
Libation dorée [Tibet]
—
Dao yi (battre les vêtements) [Chine]
—
Xigong ci (poème du Palais de l’Ouest) [Chine]
—
Ilgagi (“si un seul moment…”) [Chine]
—
Jajinmori [Corée]
—
Gion shôja (temples de Gion) [Japon]
—
Ashibi shongane bushi [Japon – Okinawa]
—
Sorg aldri du min pike (ne pleure jamais ma fille) [Norvège]
—
Halling etter Gabriel Reed [Norvège]
—
A moll polska de Rödön [Suède]
—
Polska efter Janne Mårtensson [Suède]
—
Tel tu étais… [Russie]
—
Jaani, Jaani, Jaanokene (Jean, Jean, petit Jean) [Estonie]
—
The Mountain Road, Old Concertina Reel [Irlande]
—
Hulyet [chansons Yiddish]
—
Dolu ublem (en descendant par Ublo) [République Tchèque]
—
Valaské spod Pol’any [Slovaquie]
—
Hármas táncdal (triple danse) [Hongrie]
—
Adilei (chant de voyage) [Géorgie]
—
Yodel naturel (Höimaitli) [Suisse]
—
Dale himariote dale ! [Albanie]
—
Se kainourgia varka mpika [Grèce]
—
Quatre versions de l’Erotikritos [Crète]
—
Disisperada [Italie – Sardaigne]
—
Tarantella [Italie – Sicile]
—
Jean‐Louis ha Marivon [France – Centre‐Bretagne]
—
Mendiaren deia (l’appel de la montagne) [France – Pays Basque]
—
Txorittua noat hoa ? (petit oiseau, où vas‐tu ?) [France – Pays Basque]
—
Terzetti rusinchi [France – Corse]
—
Cerca [France – Corse]
—
Fado das andorinhas (fado des hirondelles) [Portugal]
—
U [Espagne – València]
—
Tangos [Espagne]
—
Don’t Let the Devil Ride (ne laissez pas le diable vous conduire) [États‐Unis]
—
Las dos Huastecas [Mexique]
—
Dügü [Honduras]
—
El misterio de tus ojos (le mystère de tes yeux) [Cuba]
—
Francisquito [Cuba]
—
Séramik épi potri [France – Martinique]
—
Pantalon – Jardin [France – Guadeloupe]
—
Sangueo [Venezuela]
—
El diablo suelto (le diable échappé) [Venezuela]
—
Zumba que zumba [Venezuela]
—
Matilde Lina [Colombie]
—
Marili [Colombie]
—
La que se pega (celle qui se colle) [Colombie]
—
Tikankginhü [Brésil]
—
Uakamimbütaka [Brésil]
—
Wyrakamytã mi [Paraguay]
—
Aiwisku [Bolivie]
—
Color color Punchituchay [Pérou]
—
Mi Buenos Aires querido [Argentine]
—
Canto a mi terruño [Argentine]
—
What other identifiers does this connect to?
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
0000000002767919000000004213440300000000454049070000000046261506000000004771000000000000506840770000000053918481000000005519582X00000000554316850000000066542081
+19 more
000000006655837400000000777918680000000081517116000000008156166X00000000838495440000000084157742000000010784444X000000010928913600000001145050750000000120065598000000012121101600000001214189490000000372646620000000038209331000000004076463140000000442369439000000045309830400000004597255910000000462392038
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What is UPC 3415820000012?
3415820000012 is a Universal Product Code (UPC) assigned to Le Monde des musiques traditionnelles by Various Artists. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 98 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
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