DOCSLIB.ORG

Getting Here

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Getting Here our valued sponsors: valued our to thanks many greatamericanirishfest.com the race and to register online, please visit: visit: please online, register to and race the the morning of the race. More info about about info More race. the of morning the a run t-shirt. Registrations will be accepted accepted be will Registrations t-shirt. run a Those who register in advance will receive receive will advance in register who Those will start and end on the Fairgrounds. Fairgrounds. the on end and start will be held on Saturday, July 25th at 10:00 am. This run run This am. 10:00 at 25th July Saturday, on held be present the Annual “Ranger Run” 5K road race, to to race, road 5K Run” “Ranger Annual the present The Great American Irish Festival will once again again once will Festival Irish American Great The un 5K 5K un R anger R There is no admission charge for games. for charge admission no is There Fields behind the rear entrance of the Fairgrounds. Fairgrounds. the of entrance rear the behind Fields cheering your favorite teams on at the Athletic Athletic the at on teams favorite your cheering As part of the Great American Irish Festival, enjoy enjoy Festival, Irish American Great the of part As ugby Games ugby R performances, and more! more! and performances, demos, Sunday high tea, Irish dancing school school dancing Irish tea, high Sunday demos, contest, Ireland photograph display, cooking cooking display, photograph Ireland contest, will proudly host: genealogy workshops, photo photo workshops, genealogy host: proudly will GreatAmericanIrishFest.com at found be can more, and activities these of all on Details the Emerald Isle, this year the Cultural Building Building Cultural the year this Isle, Emerald the Among the rich cultural traditions displayed from from displayed traditions cultural rich the Among Cultural Building Cultural in addition to a wide array of food vendors! food of array wide a to addition in wares, other and jewelry clothing, crafts, Celtic Tasting area. area. Tasting Over 30 vendors with a huge variety of Irish and and Irish of variety huge a with vendors 30 Over Come try a variety of whiskeys in our new Whiskey Whiskey new our in whiskeys of variety a try Come on Saturday on US MORE! US PL asting T Whiskey and massed band performance beginning at 4:45 4:45 at beginning performance band massed and competition will conclude with a pipe band parade parade band pipe a with conclude will competition friends. Festival! the to addition new this see Come company. The Northeast. the in bands pipe best the of Choose from an assortment of wines to enjoy with with enjoy to wines of assortment an from Choose good some and tea of cup a of calm the in Relax some watch to able be will attendees Festival Wine Garden Garden Wine oom R ea T Competition Band Bagpipe ... and there’s a lot of it! of lot a there’s and ... including Irish dishes — be sure to bring your appetite! appetite! your bring to sure be — dishes Irish including What to do to What American Irish Festival! With an array of food vendors, vendors, food of array an With Festival! Irish American Great There’s plenty to see, hear, taste, and experience at the the at experience and taste, hear, see, to plenty There’s Getting Here Directions to the Herkimer County Fairgrounds: 135 Cemetery Street • FrankFort, ny 13340 FROM THE EAST: Take the New York State thruway (I-90) to Exit 30 (Herkimer/Mohawk). Take a left from the exit ramp, then an immediate right onto Route 5S westbound. In approximately 5 miles, exit to the Herkimer County Fairgrounds exit at Cemetery Street. FROM THE WEST: Take the New York State thruway (I-90) to Exit 31, Utica. Follow signs to Genesee Street South. Follow the road signs to route 5S east. (After approximately one mile you will be directed to bear to the right onto “5S and Broad Street.” Then another half mile to turn left onto Route 5S eastbound). Then proceed east about 8 miles to the exit for the Herkimer County Fairgrounds. FROM THE NORTH: Take Routes 8/12 South to Route 5S eastbound, approximately 9 miles to the Herkimer County Fairgrounds exit. FROM THE SOUTH: Take Routes 8/12 North to Route 5S eastbound, approximately 9 miles to the Herkimer County Fairgrounds exit. Ticket Sales A limited number of discounted, LOCAL OUTLETS: advance-sale tickets are available at • Herkimer County Fairgrounds, local outlets now. Frankfort Tickets will also be available • Saranac Brewery Shop, Utica at all Price Chopper registers beginning July 1st. Tickets can • Herkimer County also be purchased online at Chamber, Herkimer greatamericanirishfest.com • Big apple music, new Hartford Advance ticket • Potting Shed antiques, sale prices: Whitesboro Friday $12, Saturday $15, Sunday $12, or All-weekend $30 • Plaide Palette, Cherry Valley GAIF 2015 Brochure FM.indd 1 6/4/15 7:10 PM Here’s a taste of the variety of music acts you’ll hear at this year’s The Music Great American Irish Festival. Don’t miss your favorites, and get your dancing shoes on! don’t forget about the dancers, pipers, and group sessions too! GlenGharry Bhoys • Friday headliner The elders • saTurday & sunday headliner KiTchen ParTy • The ParTy’s BacK! FRIDAY SATURDAY SUNDAY Contemporary Stage Contemporary Stage Contemporary Stage 5:00 – 6:00 Rathkeltair 12:00 – 1:20 1916 12:00 – 1:15 1916 6:30 – 7:30 BarleyJuice 1:40 – 3:00 Fighting Jamesons 1:45 – 3:00 Fighting Jamesons 8:00 – 9:15 The Elders 3:30 – 5:00 Glengarry Bhoys 3:30 – 5:00 The Elders 9:45 – 11:00 Glengarry Bhoys 5:00 – 5:45 Pipe Band March 5:45 – 7:00 Rathkeltair Traditional Stage Traditional Stage 7:30 – 9:00 Barleyjuice 11:45 – 12:15 Dance Set 5:00 – 5:45 Blarney Rebel Band 9:30 – 11:00 The Elders 12:15 – 1:30 The Moxie Strings 6:15 – 7:15 Get Up Jack 2:00 – 3:15 Hair of the Dog 7:45 – 9:00 Searson Traditional Stage 3:45 – 5:00 Seamus Kennedy 9:30 – 11:00 Kitchen Party 11:30 – 12:45 Blarney Rebel Band 1:10 – 2:30 Kitchen Party Regional Stage 3:00 – 4:30 The Moxie Strings 12:30 – 3:00 Kennedy’s Kitchen Regional Stage (Ballads/Stories/Workshops) 5:15 – 6:15 Searson 4:30 – 5:00 Dance Set 3:15 – 5:00 Donal O’Shaughnessy 6:30 – 7:00 Dance Set 5:00 – 5:45 Pipe Band March 7:17 – 9:00 Spain Brothers 5:45 – 6:50 Seamus Kennedy 7:15 – 8:45 Eileen Ivers Cultural Stage 9:15 – 10:15 Gerry Dixon 12:15 – 12:45 Dance Set 9:15 – 10:45 Hair of the Dog 1:00 – 2:15 Craobh Dugan Cultural Stage 2:30 – 3:00 Dance Set 5:15 – 6:30 Craobh Dugan Regional Stage 6:15 – 6:35 Dance Set 12:00 – 1:30 Gerry Dixon 1:45 – 3:15 Emerald Dawn 7:00 – 8:30 Rattlin Bog 3:30 – 5:00 Kevin McKrell all SCHeDUleS SUBjeCt to CHange. 5:00 – 5:45 Pipe Band March 5:45 – 7:15 Triskele 7:30 – 9:00 The Moxie Strings Get Connected! Follow The Great American Irish Fest! Bring a non-PeriSHaBle FooD 9:15 – 10:45 Kilrush item anD HelP area VeteranS! Cultural Stage GreatAmericanIrishFest The GAIF is asking festival goers to please support 12:00 – 3:15 Kennedy’s Kitchen (Ballads/Stories/Workshops) and donate a non-perishable food item to the Central @ny_irish_fest 3:30 – 5:00 Rakish Paddy New York Veteran’s Outreach Center (CNYVOC). 5:00 – 5:45 Pipe Band March A donation location will be set up inside the main 5:45 – 6:30 Kevin McKrell @GreatAmericanIrishFest gate during the entire weekend of festival hours. 6:45 – 7:45 Rakish Paddy 8:00 – 9:00 The Stoutmen GreatAmericanIrishFestival Band Bios Like what you see? Check out even more band info at GET TO KNOW WHO’S PLAYING GreatAmericanIrishFest.com/Entertainers The Elders The Fighting Jamesons Triskele The Elders were founded in 1998 by six gentlemen with a The Fighting Jamesons deliver a traditional style of Celtic music All-female Celtic band known for their harmonies, singing the passion for music rooted in American & Celtic folk rock. Their with an aggressive and energetic modern approach, formed in Gaelic language and for their Irish wit, performing traditional, ability to bring together the art of story-telling with elements the tradition of legendary Celtic acts such as Flogging Molly and original and modern Celtic/Irish music. both progressive and rooted in tradition, has won them a the Pogues. The Fighting Jamesons have developed a national broad international fan base and critical acclaim in numerous presence due to their versions of Irish and American folk songs. Rakish Paddy publications. With rhythmic guitar, powerful fiddle, smooth vocal and haunting The Moxie Strings pennywhistle and bodhran they blend their rock, gypsy and Eileen Ivers Electrifying combination of fiddle and cello, with their foot- Celtic influences in a foot-stomping mix. Provides both musical energy and a style that constantly displays stomping, rock-influenced rhythms, this duo has put a fresh, traditionalism. Brilliant fiddler, Eileen Ivers, with her originality enticing spin on Celtic and Americana music. Kevin McKrell and rhythmic swing provides the bridge Irish music needs to Songwriter Kevin McKrell was a founding member of Celtic break through to a mainstream audience. Hair of the Dog Folk Band Donnybrook Fai ,and the Celtic Bluegrass Band The One of the most premiere Celtic rock bands, originally formed McKrells.
Load more

Recommended publications
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • [email protected] Website: Nightshift.Oxfordmusic.Net Free Every Month
    email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 122 September Oxford’s Music Magazine 2005 SupergrassSupergrassSupergrass on a road less travelled plus 4-Page Truck Festival Review - inside NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] THE YOUNG KNIVES won You Now’, ‘Water and Wine’ and themselves a coveted slot at V ‘Gravity Flow’. In addition, the CD Festival last month after being comes with a bonus DVD which picked by Channel 4 and Virgin features a documentary following Mobile from over 1,000 new bands Mark over the past two years as he to open the festival on the Channel recorded the album, plus alternative 4 stage, alongside The Chemical versions of some tracks. Brothers, Doves, Kaiser Chiefs and The Magic Numbers. Their set was THE DOWNLOAD appears to have then broadcast by Channel 4. been given an indefinite extended Meanwhile, the band are currently in run by the BBC. The local music the studio with producer Andy Gill, show, which is broadcast on BBC recording their new single, ‘The Radio Oxford 95.2fm every Saturday THE MAGIC NUMBERS return to Oxford in November, leading an Decision’, due for release on from 6-7pm, has had a rolling impressive list of big name acts coming to town in the next few months. Transgressive in November. The monthly extension running through After their triumphant Truck Festival headline set last month, The Magic th Knives have also signed a publishing the summer, and with the positive Numbers (pictured) play at Brookes University on Tuesday 11 October.
    [Show full text]
  • Acadian Fiddling Traditions
    Acadian Fiddling Traditions !by Devon Léger When two Acadians meet, the first things we ask each other are along the lines of “Where are you from,” Where’s your family from,” or “What’s your last name?” Acadians are people of a diaspora, a forced migration that spread from our homeland in Eastern Canada throughout the Western world, and to this day there’s a kind of inbred need in us to try and trace our roots back to some kind of common ground. That diaspora is why, try as we might, it’s so hard to define Acadian traditional music. Each region where Acadians settled has its own traditions, and Acadians have always been very accepting and curious about surrounding cultures. Acadians are also a pacifistic people. That’s part of the legend of the Acadians, that by choosing not to choose sides in the French-English wars, we were expelled from Nova Scotia by the British in 1755, an event known as Le Grand Dérangement, or the Great Deportation. It’s a kind of spirit that lasts to this day in the Acadian willingness to accept new influences and new ideas, certainly in music. In a sense, this differentiates Acadians in Canada from our French-speaking cousins in Québec. Québécois culture has a strong streak of independence from the Anglophone world that you don’t find in Acadian culture or music (though early Québécois musicians were just as happy to borrow from Anglophone sources). This also explains why you’ll hear so little traditional Acadian music when you travel to New Brunswick or Nova Scotia, but will hear lots of Down East fiddling, Cape Breton Scottish fiddling, Acadian bluegrass, or straight country.
    [Show full text]
  • 5Th Annual Front Porch &
    55thth Annual Annual Front Porch Front& Porch & Saturday, July 6, 2013 Gazebo Park, Main Street Chester, NJ Benefitting BYG Work Camp photo Spencer by Huck layout and design by Ella Rue 5th Annual Front Porch & Schedule 10:00–10:05 a.m. Opening Ceremony 10:05–10:25 a.m. Kali and Kailey 10:30–11:00 a.m. Evan Lane 11:10 –11:5 0 a . m . Omar Mendez 12:00 –12:40 p.m. Mike Esposito and Friends 12:50–1:30 p.m. Honky–Tonk Scoundrels 1:40–2:20 p.m. Heavy Traffic 2:30–3:10 p.m. Eric Kahler and the Jenny Jump Ramblers 3:20–4:00 p.m. The Catbirds 4:10–4:50 p.m. Tri-County Music and Arts, Fiddlers Group 5:00–5:40 p.m. Keith Wilson 5:50–6:30 p.m. Americana Troupe 6:40–7:20 p.m. Madeline Smith 7:30–8:10 p.m. Monday Night Pickers Duke DeGroat “M.C. for the Day” The former host of radio show, “Into Thin Air”, on WNTI, Duke grew up listening to Johnny Cash, Merle, and Hank. He is a proud member of the Willie Nelson Fan Club and a dedicated concert goer. “My passion is music; southern rock, blues, folk, R&R, anything that can be danced to or somehow related to. I believe music brings out emotions and memories that can’t otherwise be recalled. I love live music, jam bands, festivals, compilations and covers. Other interests include trail running, mountain biking, volunteering, and just staying involved in my community.
    [Show full text]
  • Jemf Quarterly
    JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL. XII SPRING 1976 No. 41 THE JEMF The John Edwards Memorial Foundation is an archive and research center located in the Folklore and Mythology Center of the University of California at Los Angeles. It is chartered as an educational non-profit corporation, supported by gifts and contributions. The purpose of the JEMF is to further the serious study and public recognition of those forms of American folk music disseminated by commercial media such as print, sound recordings, films, radio, and television. These forms include the music referred to as cowboy, western, country & western, old time, hillbilly, bluegrass, mountain, country ,cajun, sacred, gospel, race, blues, rhythm' and blues, soul, and folk rock. The Foundation works toward this goal by: gathering and cataloguing phonograph records, sheet music, song books, photographs, biographical and discographical information, and scholarly works, as well as related artifacts; compiling, publishing, and distributing bibliographical, biographical, discographical, and historical data; reprinting, with permission, pertinent articles originally appearing in books and journals; and reissuing historically significant out-of-print sound recordings. The Friends of the JEMF was organized as a voluntary non-profit association to enable persons to support the Foundation's work. Membership in the Friends is $8.50 (or more) per calendar year; this fee qualifies as a tax deduction. Gifts and contributions to the Foundation qualify as tax deductions. DIRECTORS ADVISORS Eugene W. Earle, President Archie Green, 1st Vice President Ry Cooder Fred Hoeptner, 2nd Vice President David Crisp Ken Griffis, Secretary Harlan Dani'el D. K. Wilgus, Treasurer David Evans John Hammond Wayland D.
    [Show full text]
  • Geographic Implications of the Fiddling Tradition in Oklahoma
    GEOGRAPHIC IMPLICATIONS OF THE FIDDLING TRADITION IN OKLAHOMA By JAMES HUBERT RENNER 1/ Bachelor of Science University of Oregon Eugene, Oregon 1974 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE May, 1979 ~ /979 7( '-/14q QQp. 2_ c ~W51vfA~ fo+~-- ~)', 0 UNIVERSITY (' LIBRARY GEOGRAPHIC IMPLICATIONS OF THE FIDDLING TRADITION IN OKLAHOMA Thesis Approved: 1,029474- ii PREFACE This thesis is a combination of two longstanding in­ terests--geography and fiddling. The background and origin of this unique study was fostered by Dr. Everett Smith, my undergraduate advisor at the University of Oregon, who first encouraged me to pursue a course of study which would com­ bine the two. Following my graduation of Oregon, I journeyed to Penn State University to attend the first meeting of the emergent Society for a North American Cultural Survey (SNAGS) and to meet Dr. George Carney, who had pioneered geographic re­ search in traditional American music. I later joined the graduate program at Oklahoma State University to work under Carney. While conducting my graduate studies, I received a Youthgrant from the National Endowment for_ the Humanities to establish an Archive of Oklahoma Fiddlers. This project was begun in the summer of 1976 and completed in the fall of 1977. During this same period of time, I was chosen to serve as "Resident Folk Artist" for the Oklahoma Arts and Humanities Council. Both of these experiences provided in­ valuable experience and information concerning music and culture in Oklahoma which became the foundation of this re­ search.
    [Show full text]
  • News from the Library of Congress
    NEWS FROM THE LIBRARY OF CONGRESS MOUG/MLA 2012 The News from the Library of Congress this year includes reports from the major Library units concerned with music and sound recording materials: Music Division, National Audio-Visual Conservation Center/Packard Campus, the American Folklife Center, and the Policy and Standards Division. Reports from other Library units which may contain concerns of importance to the music library community (e.g., Copyright Office, Preservation Directorate, Technology Policy Directorate) may be found in the ALA Midwinter report on the Library’s website: http://www.loc.gov/ala/mw-2012-update.html MUSIC DIVISION………………………………………P. 1 PACKARD CAMPUS FOR AUDIO-VISUAL CONSERVATION, RECORDED SOUND SECTION…………………………………….P. 11 AMERICAN FOLKLIFE CENTER………………….P. 15 POLICY AND STANDARDS DIVISION, ACQUISITIONS & BIBLIOGRAPHIC ACCESS DIRECTORATE…….P. 27 MUSIC DIVISION --Reported by Sue Vita, Joe Bartl, Dan Boomhower, Denise Gallo, Mark Horowitz, Karen Lund, Anne McLean, and Steve Yusko This fiscal year, the Music Division’s first priority was to improve access to its vast collection of more than 20 million items, including scores, libretti, manuscripts, photographs, personal papers, instruments, and memorabilia. This was accomplished on a number of fronts: by processing and creating online finding aids for special collections; by creating new and improved existing bibliographic records; by digitizing items from collections and putting them online; and by publicizing the collections through the Performing Arts Encyclopedia, public programs, orientations, professional meetings, and social media. We 1 made significant progress on the Collections Analysis Project, which will result in improved physical and intellectual control over all of Music’s holdings.
    [Show full text]
  • This Is How We Do: Living and Learning in an Appalachian Experimental Music Scene
    THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS MAY 2011 Center for Appalachian Studies THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY May 2011 APPROVED BY: ________________________________ Fred J. Hay Chairperson, Thesis Committee ________________________________ Susan E. Keefe Member, Thesis Committee ________________________________ Patricia D. Beaver Member, Thesis Committee ________________________________ Patricia D. Beaver Director, Center for Appalachian Studies ________________________________ Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Shannon A.B. Perry 2011 All Rights Reserved ABSTRACT THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE (2011) Shannon A.B. Perry, A.B. & B.S.Ed., University of Georgia M.A., Appalachian State University Chairperson: Fred J. Hay At the grassroots, Appalachian music encompasses much more than traditional music genres, like old-time and bluegrass. While these prevailing musics continue to inform most popular and scholarly understandings of the region’s musical heritage, many contemporary scholars dismiss such narrow definitions of “Appalachian music” as exclusionary and inaccurate. Many researchers have, thus, sought to broaden current understandings of Appalachia’s diverse contemporary and historical cultural landscape as well as explore connections between Appalachian and other regional, national, and global cultural phenomena. In April 2009, I began participant observation and interviewing in an experimental music scene unfolding in downtown Boone, North Carolina.
    [Show full text]
  • FSGW Concerts Rely on Volunteers: See the “Details” Page of a Concert on the Calendar at Fsgw.Org to Sign up to Volunteer at That Event
    Volume 55, Number 7 NEWSLETTERfsgw.org March 2019 FSGW Concert Takoma Park, MD Mari Black’s World Fiddle Ensemble Saturday, March 23 • 8–10 pm U.S. National Scottish Fiddle Champion in 2013 and 2015…. Glenfiddich National Fiddle Champion of Scot- land in 2014… yet Mari Black’s touring repertoire includes Celtic, American, and Canadian fiddle tunes, jazz, tango, klezmer, folk, and original material. With degrees from Yale and Columbia and a reputation for “ener- getic fiddling, sparkling stage presence, and engaging narratives that tie the whole odyssey together, she takes listeners on a musical journey exploring the dance-driven music of the world.” Mari is joined on this tour by guitarist Owen Morrison, familiar to the contra community as a member of Elixir and Wild Asparagus, and bassist Joe Magar. This event will be one of the two concerts per year where nomina- Contents: FSGW tions for the FSGW Board of Directors are accepted from the audi- Board Members/Meetings, and Editorial Policy ................2 Newsletter Submissions Policy ............................................2 ence during intermission. (And therefore this concert is FREE to Washington Folk Festival Volunteers ..................................5 Call for Washington Folk Festival Craftspersons ................5 FSGW members! Please bring your current membership card.) At Concerts: Tues., March 5: Alan Reid & Rob van Sante ......................3 the John Kendall Recital Hall at Potter Violins (Metro: Silver Spring Fri., March 8: Julia Patinella .................................................3
    [Show full text]
  • Folklore Society of Greater Washington
    IlK Folklore Society of Greater Washington 22nd Annual IliniFesl Saturday, January 29 Afternoon Events 12 - 6pm Concert / Dance 7:30 - 10:30pm Doors Open at 11:30am Come out of the cold and into the MiniFest! This is the Folklore Society of Greater Washington’s annual fund raising event, and an opportunity to get out of your house to participate in a day of song, music, storytelling, crafts, and dance. The Takoma Park Intermediate School, 7911 Piney Branch Rd., Takoma Park, Md. is the location. Music and dance workshops, music swaps, jams, craft demonstrations, and mini-concerts run from noon to 6pm. The evening concert and dance start (concurrently) at 7:30pm and end around 10:30pm. Afternoon Events Crafts There will be five types of sessions this year. Come early so The theme is interactive this year, featuring Renee Schoenberg you can try them all! (tie-dying), the Hylands (spinning and weaving demo), Shawnee SWAPS: One leader and all of YOU will make these programs. Holmberg and Martha Mikestra (origami and beaded Look for sessions on 60’s songs, parody, ballads, gospel, rounds, jewellery—make your own!), Paul Downs (dioramas from natural stories, and water, chorus, Australian, and Appalachian songs. materials), Enid Romanek (drawings and portraits), Elizabeth JAMS: One leader, all of YOU, and your instruments will make Thornton (making wooly lambs), Peter Austin (wrought ironwork), these go. Look for sessions of ragtime, bluegrass, jazz, blues, and Tom O’Brien (2d and 3d papermaking). sacred harp, and a special old timey jam with clogging! Evening Concert and Dance TUTORIALS: Come to these sessions to leam more about the These will be held concurrently, starting at 7:30 pm, and going techniques used when playing hammer dulcimer, squeeze box, until 10:30 pm.
    [Show full text]
  • The Fiddle in Our Country, Canada
    The Fiddle In Canada Introduction Hello, my name is Lanelle, and I am thirteen years old. Ever Since I can remember, I’ve been one of those kids who could not function without music. Music is not just background noise you put on at a party, music puts thoughts, feelings, emotions and life into song. Personally, my favourite type of music is that which comes out of a four stringed, wooden, hollow instrument, played by a bow moving across strings. Yes, the fiddle is my favourite type of music and I’ve been playing it since I was six years old, that’s over half of my life already. So, this project is dedicated to the fiddle, past and present in our country, Canada. The fiddle was introduced to Canada by settlers who were immigrating here, mainly from Europe. That means we would have had some fiddle traditions How and happening in the mid to late 1600’s, but it would have become a lot more popular, and a lot more vibrant type of music in the 1700’s. why did As an instrument, the fiddle was really convenient for settlers to bring over to Canada, as it was small, light and the fiddle portable. When you are packing up your entire life in a few bags, sailing for six weeks and then coming to a land that doesn’t have roads, trains or any easy way of getting around... it’s kind of a necessity to have things that are come to portable. As my fiddle instructor, Rowan Teasdale put it, “you can’t exactly pack up a piano, and hall it across the Atlantic.” Canada? What are the different fiddle styles in Canada? 5.
    [Show full text]
  • Don Randell: Mistaken Fiddling Dichotomies1
    Don Randell: Mistaken Fiddling Dichotomies1 PAULA FLYNN IN 2003 I ATTENDED A CONCERT in St. John’s given by the renowned English revival singer Martin Carthy, during which he performed traditional ballads, broadsides, and tunes. At intermission I discussed Carthy’s important role in the folk revival movement in the UK with a group of local musicians, and mentioned the importance of song collection and performance in our own culture. One musician agreed and, in a condescending manner, noted that it was imperative that Newfoundland and Lab- rador should not be known only for “musicians like Harry Hibbs.” Another musi- cian, a singer of traditional Newfoundland songs, asserted that the “trad/rock” band Figgy Duff had tried to raise the status of Newfoundland folk music. In both cases, I was struck by the musicians’ apparent desire to distance themselves from what was seen as inferior, less sophisticated or, worse, music tainted by its association with country style and commercial media. “Musicians like Harry Hibbs” have been ad- mired (and sometimes revered) by much of the populace because of their adherence to community constructions of good musicianship. Factors such as “danceability,” or rhythm, and familiarity can be assets in a set of traditional tunes. On the other hand, a new sound played with professional polish can get people out to the “shows,” a term with dual meanings, as discussed by folklorist Michael Taft in 1981. Traditional music is no better or worse than popular music; they are different, as are peoples’ views of what is desirable in a sound or style.
    [Show full text]