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Scottish and Irish Elements of Appalachian Fiddle Music
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.> Date / / - ( /'--/----- --",,-..- Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'- ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---. -
Suggested Repertoire
THE LEINSTER SCHOOL OF RATE YOUR ABILITY REPERTOIRE LIST MUSIC & DRAMA Level 1 Repertoire List Bog Down in the Valley Garryowen Polka Level 2 Repertoire List Maggie in the Woods Planxty Fanny Power Level 3 Repertoire List Jigs Learn to Play Irish Trad Fiddle The Kesh Jig (Tom Morley) The Hag’s Purse Blarney Pilgrim The Merry Blacksmith The Swallowtail Jig Tobin’s Favourite Double Jigs: (two, and three part jigs) The Hag at the Churn I Buried My Wife and Danced on her Grave The Carraroe Jig The Bride’s Favourite Saddle the Pony Rambling Pitchfork The Geese in the Bog (Key of C or D) The Lilting Banshee The Mist Covered Meadow (Junior Crehan Tune) Strike the Gay Harp Trip it Upstairs Slip Jigs: (two, and three part jigs) The Butterfly Éilish Kelly’s Delight Drops of Brandy The Foxhunter’s Deirdre’s Fancy Fig for a Kiss The Snowy Path (Altan) Drops of Spring Water Hornpipes Learn to Play Irish Trad Fiddle Napoleon Crossing the Alps (Tom Morley) The Harvest Home Murphys Hornpipes: (two part tunes) The Boys of Bluehill The Homeruler The Pride of Petravore Cornin’s The Galway Hornpipe Off to Chicago The Harvest Home Slides Slides (Two and three Parts) The Brosna Slides 1&2 Dan O’Keefes The Kerry Slide Merrily Kiss the Quaker Reels Learn to Play Irish Trad Fiddle The Raven’s Wing (Tom Morley) The Maid Behind the Bar Miss Monaghan The Silver Spear The Abbey Reel Castle Kelly Reels: (two part reels) The Crooked Rd to Dublin The Earl’s Chair The Silver Spear The Merry Blacksmith The Morning Star Martin Wynne’s No 1 Paddy Fahy’s No 1 Fr. -
Teaching Scottish Country Dancing
GUIDELINES FOR TEACHING SCOTTISH COUNTRY DANCING CONTENTS Foreword ......................................................................... i Acknowledgements ......................................................................... ii Definitions ......................................................................... iii Introduction ......................................................................... 1 Theory (Unit 1) ......................................................................... 1 Practical Dancing (Unit 2) ......................................................................... 2 Warm-ups and Cool Downs ......................................................................... 4 Teaching – Level 1 (Unit 3) ......................................................................... 4 Teaching Practice (Unit 4) ......................................................................... 8 Teaching – Level 2 (Unit 5) ......................................................................... 8 Teaching Elements ......................................................................... 9 Steps and Formations ......................................................................... 9 Build up of the dance ......................................................................... 10 Observation ......................................................................... 10 Presentation ......................................................................... 12 Class Management ........................................................................ -
Daly Berman 1 Amanda Elaine Daly Berman Boston University, Graduate School of Arts and Sciences Department of Musicology And
Daly Berman 1 Amanda Elaine Daly Berman Boston University, Graduate School of Arts and Sciences Department of Musicology and Ethnomusicology Repression to Reification: Remembering and Revitalizing the Cape Breton Musical Diaspora in the Celtic Commonwealth INTRODUCTION Cape Breton Island, the northeast island of the Canadian province of Nova Scotia, has long had a strong connection with New England, and the Boston area in particular, due to its maritime location and relative geographic proximity. At its peak in the mid-20th century, the Boston Cape Breton community is estimated to have numbered close to 100,000 members. However, as Sean Smith writes in the June 3, 2010 issue of the Boston Irish Reporter, Greater Boston’s Cape Breton community is undergoing a transition, with the graying of the generation that played such a major role during the 1950s and 1960s in establishing this area as a legendary outpost for music and dance of the Canadian Maritimes. Subsequent generations of Cape Bretoners have simply not come down to the so-called “Boston states” on the same scale, according to the elders; what’s more, they add, the overall commitment to traditional music and dance hasn’t been as strong as in past generations.1 Further, he notes that it is “non-Cape Bretoners [e.g., members of other Maritime communities, non-Cape Breton Bostonians] who seem to make up more of the attendance at these monthly dances” held at the Canadian-American Club (also known as the Cape Breton Gaelic Club) in Watertown, Massachusetts. The club serves as a gathering site for area members of the Cape Breton and the greater Maritime diaspora, offering a monthly Cape Breton Gaelic Club Ceilidh and weekly Maritime open mic sessions. -
Jean Thomas' American Folk Song Festival : British Balladry in Eastern Kentucky
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 4-1978 Jean Thomas' American Folk Song Festival : British balladry in Eastern Kentucky. Marshall A. Portnoy University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Portnoy, Marshall A., "Jean Thomas' American Folk Song Festival : British balladry in Eastern Kentucky." (1978). Electronic Theses and Dissertations. Paper 3361. Retrieved from https://ir.library.louisville.edu/etd/3361 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. JEAN THOMAS' AfiERICAN FOLK SONG FESTIVAL: ''. BRITISH BALLADRY IN EASTERN KENTUCKY ·By . Marshall A. Portnoy '" B.A., Yale University, 1966 M.S., Southern Connecticut State College, 1967 B. Mus., The Jewish Theological Seminary of America, 1971 Diploma of Hazzan, School of Sacred Music of The Jewish Theological Seminary of America, 1971 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Music History Division of Humanities University of Louisville Louisville, Kentucky April 1978 © 1978 MARSHALL ALAN PORTNOY ALL RIGHTS RESERVED JEAN THOMAS' AMERICAN FOLK SONG FESTIVAL: BRITISH BALLADRY IN EASTERN KENTUCKY By Marshall A. -
9972508.PDF (6.393Mb)
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter ^ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographicaily in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JEAN RITCHIE’S FIELD TRIP - SCOTLAND: AN EXAMINATION OF UNPUBLISHED FIELD RECORDINGS COLLECTED IN SCOTLAND, 1952-53 A Dissertation SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of Doctor of Philosophy By SUSAN HENDRIX BRUMFIELD Norman, Oklahoma 2000 UMI Number 9972508 UMI UMI Microform9972508 Copyright 2000 by Bell & Howell Information and Learning Company. -
An Coimisiún Le Rincí Gaelacha Scrúdú Teastas Mhúinteora (T.C.R.G.) T.C.R.G
2016 An Coimisiún le Rincí Gaelacha Scrúdú Teastas Mhúinteora (T.C.R.G.) T.C.R.G. (Teachers') Examination Clár Scrúdaithe Syllabus of Examination st 1ú lá Meán Fómhair 2015 September 1 2015 __________________________________________________________________________ 1. QUALIFICATIONS FOR ENTRY The examination is open to persons who are 20 years of age or over at the date of application and are acceptable to An Coimisiún as candidates and have been recommended by a registered adjudicator or teacher (see paragraph 2 below). Applications received after the set quota of candidates for an examination has been reached must unfortunately be refused. Early application is therefore necessary in the case of all examinations. Effective January 1st 2018, all candidates must have completed Grades 1 through to 12 to be eligible to take the TCRG examination. Each candidate will be required to submit proof of having taken all twelve grades. This documentation must be submitted with the application. 2. COMPETENCY AND SUITABILITY An applicant must submit with his or her application a recommendation by any registered teacher or adjudicator testifying that the certifier knows the applicant, is satisfied that he or she can perform the required dances for the practical dancing test to a reasonably good standard and knows of no reason why the applicant should not be suitable and acceptable as a registered teacher. 3. DATES OF EXAMINATION Examinations usually take place in Ireland in May and in November or December. Examinations are held at venues in Britain, USA, Canada, Australia and New Zealand when requested and provided the projected number of candidates, in the opinion of the Udarás Scrúdaithe (Examination Authority), justifies examinations being held The Authority following consultation with the regional authorities decides the dates and venues of examinations outside of Ireland. -
Ethnic and Racial Formation on the Concert Stage: a Comparative Analysis of Tap Dance and Appalachian Step Dance
Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Janet Kathleen Schroeder, MFA Graduate Program in Dance Studies The Ohio State University 2018 Dissertation Committee: Harmony Bench, Advisor Melanye White Dixon Kwaku Larbi Korang Hannah Kosstrin Copyright by Janet Kathleen Schroeder 2018 Abstract “Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance” is a revisionist project that explores the shared aesthetics and historical trajectories of these two percussive dance practices, which have ultimately developed into two distinct forms of dance. This dissertation investigates the choreographic and representational strategies choreographers use to transfer the histories and legacies of tap dance and Appalachian step dance to the stage, namely through a process I call concertization. In each analysis, I pay particular attention to representations of the complex ethnic and racial identities affiliated with each form and ways concertization highlights or obscures such affiliations. Additionally, I aim to understand the relationship between the practices of tap dance and Appalachian step dance and what I see as a contested idea of “America” as it is represented through choreography. My analyses suggest the migration of rhythm tap dance and Appalachian step dance from vernacular and social contexts to the concert stage is in tension with the ways these dance forms, as vernacular practices, also engage in the consolidation of ethnic and racial identities. -
Experiencing Celtic Culture Through Music Practice on Cape Breton Island, Nova Scotia
TRANSNATIONAL COMMUNITIES THROUGH GLOBAL TOURISM: EXPERIENCING CELTIC CULTURE THROUGH MUSIC PRACTICE ON CAPE BRETON ISLAND, NOVA SCOTIA Kathleen Elizabeth Lavengood Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Folklore and Ethnomusicology Indiana University (April, 2008) Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ______________________________ Dr. Ruth Stone, Ph.D ______________________________ Dr. Richard Bauman, Ph.D ______________________________ Dr. Jeffrey Magee, Ph.D ______________________________ Dr. Daniel Reed, Ph.D Date of Oral Examination November 20, 2007 ii © 2008 Kathleen Elizabeth Lavengood ALL RIGHTS RESERVED iii Dedication This work is dedicated to my Lord and Savior, Jesus Christ, Whom through all things are possible (Phil 4:13). My deepest thanks to Dr. Ruth Stone, Dr. Richard Bauman, Dr. Daniel Reed, and Dr. Jeffrey Magee. Your love for discovering the ways human beings understand themselves, each other, and the world through musical performance is terribly infectious, and I will be forever grateful for the tools you have given me to communicate those ideas to the world. I am forever indebted to Mairi Thom, Adam Chiasson, David Papazian, Sarah Beck, Paul Cranford, Winnie Chafe, and Doug MacPhee, for opening your hearts and homes to me in Cape Breton. You have changed my path in life, for now I will always be seeking ways to make a place for you as musicians and artists here in the states. To Sheldon MacInnes, Hector MacNeil, Paul MacDonald, and Janine Randal, I thank you for your help in research at the Beaton Institute, the University College of Cape Breton, the Gaelic College of Celtic Arts and Crafts, and the Ceilidh Trail School of Celtic Music. -
Cultures of Dance’ Construct Experiences of Health and Growing Older APPENDICES
An Exploration of How Various ‘Cultures of Dance’ Construct Experiences of Health and Growing Older APPENDICES Susan Mary Paulson Dissertation submitted for the degree of Doctor of Philosophy City University London Department of Psychology November 2009 FOCUSED CODING...................................................................................................................5 NARRATIVE THEME: FORMING A SENSE OF BELONGING THROUGH DANCE ............................5 NARRATIVE THEME: LEARNING TO DANCE ............................................................................15 NARRATIVE THEME: PSYCHOLOGICAL HEALTH, SENSE OF BELONGING AND GROWING OLDER......................................................................................................................................26 NARRATIVE THEME: SENSE OF BELONGING, GROWING OLDER AND PHYSICAL HEALTH .....32 CIRCLE DANCE FIELD NOTES...........................................................................................39 FIRST CIRCLE DANCE GROUP 4.5.07 AT 10.00AM-12.00PM....................................................39 FIRST CIRCLE DANCE GROUP 18.5.07 AT 10.00AM-12.00PM..................................................39 FIRST CIRCLE DANCE GROUP 25.5.07 AT 10.00AM-12.00PM..................................................41 4.6.07 ETHNOGRAPHIC INTERVIEW WITH RETIRED BALLERINA IN HER 70S WHO LEFT THE FIRST CIRCLE DANCE GROUP ..................................................................................................41 FIRST CIRCLE DANCE GROUP 8.6.07 AT 10.00AM-12.00PM....................................................42 -
The Bbc Folk Music Collection
THE BBC FOLK MUSIC COLLECTION Marie Slocombe In a sense I write under false pretences because the BBC pos- sesses no special archives devoted to folk music. For the purposes of broadcasting, the BBC began to make recordings at the end of 1931 and over the last thirty years has built up a general Sound Archives of some 30,000 accession numbers: recordings mainly selected from its own broadcast programmes, ranging from variety to grand opera, from the squeak of a door to full-length radio drama, from the noisy actuality of war commentaries to the stately sonority of Coronation ceremonies. The primary aim of the Archives as a whole has been to collect and preserve documentary sound of firsthand interest for future broadcasting. The work of selection, processing, cataloguing and library service is carried out by a non-technical staff, numbering at present twenty-five persons, assisted on the technical side by a small group of specialised recording engineers who transfer selected mate- rial from tape to disk (for subsequent manufacture of matrices) or from tape to archive tape. The majority of holdings are at present in the form of processed recordings, standard groove 78 rpm press- ings for the early years, followed in the last decade by micro-groove pressings at 33 113 rpm. The matrices are stored by the BBC. With appropriate precautions it is believed that this remains the surest method of long-term preservation, although in the last two years the BBC has begun to preserve a number of full-length programmes on tape, again with many precautions and reservations as to the ultimate durability of this medium.' The BBC department responsible for the Sound Archives has always considered the recording and preservation of folk music, custom and dialect as an important part of its assignment, a point of view that has received every encouragement from the BBC manage- ment. -
Musica Scotica Retroproceedings MASTER
Hearing Heritage Selected essays on Scotland’s music from Musica Scotica conferences ! Edited by M. J. Grant Published by the Musica Scotica Trust, 2020 All texts © Te authors, 2020 Images included in this volume appear by permission of the named copyright holders. Tis volume is freely available to download, in line with our mission to promote scholarship and knowledge exchange. Further distribution, including of excerpts, is subject to this being credited appropriately. ISBN 0-9548865-9-3 Glasgow: Musica Scotica Trust, 2020 Table of Contents About the Authors Gordon Munro & Introduction 1 M. J. Grant Hugh Cheape Raising the Tone: Te Bagpipe and the Baroque 3 Joshua Dickson A Response to ‘MacLeod’s Controversy’: Further 19 Evidence of the Pibroch Echo Beat’s Basis in Gaelic Song Elizabeth C. Ford Te Crathes Castle Flute: Artistic License or Historical 31 Anomaly? John Purser James Oswald (1710–1769) and Highland Music: 39 Context and Legacy Per Ahlander Te Seal Woman: A Celtic Folk Opera by Marjory 55 Kennedy-Fraser and Granville Bantock Stuart Eydmann & Seeking Héloïse Russell-Fergusson 73 Hélène Witcher Marie Saunders We’re All Global Citizens Now, and Yet … 84 About the authors Per G. L. Ahlander read modern languages, musicology, opera theatre and fne arts at Stockholm University, music at the Royal Swedish Academy of Music and is a graduate of the Stockholm School of Economics. He completed his doctorate in 2009 at the University of Edinburgh, where he subsequently held postdoctoral research fellowships at the Institute for Advanced Studies in the Humanities and the Department of Celtic & Scotish Studies.