Edito de Aires Gallegos Con CantoThe works that are compiled in this CD are a representative sample of his recordings. The order in which they have been placed responds to aesthetic criteria, although as they all come from 78 rpm. discs, which only have one piece on each side, the disposition presented maintains the mentioned pairs to be able to value the instrumental conformations adopted by Dopazo : bagpipe and vocals by himself (tracks 1 and 2); two bagpipes, tambourine, caixa (box) and bombo (bass drum) (tracks 3 and 4); bagpipe, male vocals, choir, tambourine, caixa (box) and bombo (bass drum) (track 5); bagpipe and male vocals (tracks 6, 10 and 11); bagpipe, male vocals, caixa (box) and bombo (bass drum) (track 7); bagpipe and snare drum (tracks 8 and 9); bagpipe, clarinet, caixa (box), bombo (bass drum) and tarrañolas (wooden percussion instrument played by placing the two pieces of wood between your fingers and moving your wrist) (tracks 12 and 13); bagpipe and clarinet (track 14); bagpipe, mixed vocals and snare drum (tracks 15 and 16); and bagpipe, tambourine, caixa (box) and bombo (bass drum) (tracks 17 and 18). The pieces are Galician, except for the ones in tracks 2, 10 and 11, which are Asturian, and the ones in tracks 12 and 13, which belong to the Spanish academic repertoire. they were recorded between 1908 and the decade of the 40?s. This record is part of the A Tiracolo collection, which restores historical recordings of Galician music (from the northeast of Spain). This collection recovers the Galician musical heritage in a digital format, principally recordings made between 1904 and 1960. It includes an unedited and rigorous 18-page documentary study, featuring an abundant amount of photographic material, originally from museums and private collections. The booklet has been written in four languages: Galician as the main language, Spanish, English and French. The use of bagpipes and hurdy-gurdies is a traditional characteristic of Galician music, as well as the use of many percussion instruments, such as the tambourine, the drum and sea-shells, but also because of its vocal richness. It is highly endogenous due to its rich medieval lyrical tradition and also because of the country?s cultural isolation until the 19th century. Its atlantic-style features mean that it is often categorised as so-called Celtic music, which refers to the musical traditions of Celtic countries (Ireland, Scotland, the Isle of Man, Cornwall, Brittany, Asturias and Galicia). Moreover, it bears a remarkable resemblance to the music from the North of Portugal. Due to the vast amount of Galician emigration to America in the 19th century, new Latin-American rhythms were introduced along with new instruments and line-ups.