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Llyfrgell Genedlaethol Cymru = the National Library of Wales Cymorth
Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Winifred Coombe Tennant Papers, (GB 0210 WINCOOANT) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 05, 2017 Printed: May 05, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH Description follows ANW guidelines based on ISAD(G) 2nd ed.; AACR2; and LCSH https://archifau.llyfrgell.cymru/index.php/winifred-coombe-tennant-papers-2 archives.library .wales/index.php/winifred-coombe-tennant-papers-2 Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Winifred Coombe Tennant Papers, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Trefniant | Arrangement .................................................................................................................................. 5 Nodiadau | Notes ............................................................................................................................................ -
Nora Kindness
ISSUE 19 / SPRING ’13 THE NEWSLETTER OF THE CALEDONIAN SOCIETY OF CINCINNATI Nora Kindness Support the Caledonian Pipe Band Ceilidh—April 13th at Sycamore Senior Center!!! ISSUE 19 / SPRING ’13 Bill Parsons, Editor 6504 Shadewater Drive Hilliard, OH 43026 513-476-1112 [email protected] THE NEWSLETTER OF THE CALEDONIAN SOCIETY OF CINCINNATI In This Issue: Burns Outstanding!!! 1 BURNS* IS GROWING-$uccessful Event! AGM Minutes 2 *Schedule of Events 2 or those that missed this Burns Night Dinner and Celebration, Oldest Continual Scty. 3 Fguess you missed out this year, CSHD 3 better make plans for 2014! We had Cinti Highld Dancers 3 a wonderful evening of food, fun, A Different Note 4 entertainment, dancing and drink! *Resource List 4 Receptions in Loveland was beautifully decorated and the attentive staff took Nora Kindness 5-7 very good care of all our guests. The *Email PDF Issue only* food was delicious and plentiful Spring Cover C* and the bar reasonably priced. The entertainment for the evening was Nora Kindness 7* outstanding (as always from our Glasgow, WWII 8* local Scottish groups) Kicking off the Out of the Sporran 9-10* evening with the posting of the colors by the Losantiville Highlanders and the anthems by Katelyn Wilshire, she also sang the all-time favored, PAY YOUR DUES! My Hearts in the Highland. We also Don’t forget to pay your current had an informative, ‘The Immoral dues. Memory’ to give a little back ground The Caledonian Society of Cincinnati, on Burns, plus the ‘Toast to the Mike Brooks, Secretary Lassies’ and the ‘Lassies Reply’ which 4028 Grove Ave were done in the most entertaining Cincinnati, OH 45212-4036 way, by a great couple (Louise and happy, although I’m sure some were Once again Recep- myself!) The Cincinnati Scots and the If you have any questions please even happier than others as we had a tions provided a contact Mike at: Cincinnati Highland Dancers both great assortment of raffle prizes given simply stunning event. -
7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
MUS 115 a Survey of Music History
School of Arts & Science DEPT: Music MUS 115 A Survey of Music History COURSE OUTLINE The Approved Course Description is available on the web @ TBA_______________ Ω Please note: This outline will not be kept indefinitely. It is recommended students keep this outline for your records. 1. Instructor Information (a) Instructor: Dr. Mary C. J. Byrne (b) Office hours: by appointment only ( [email protected] ) – Tuesday prior to class at Camosun Lansdowne; Wednesday/Thursday at Victoria Conservatory of Music (c) Location: Fischer 346C or Victoria Conservatory of Music 320 (d) Phone: (250) 386-5311, ext 257 -- please follow forwarding instructions, 8:30 a.m. to 8:00 p.m. weekdays, 10:00 to 2:00 weekends, and at no time on holidays (e) E-mail: [email protected] (f) Website: www.vcm.bc.ca 2. Intended Learning Outcomes (If any changes are made to this part, then the Approved Course Description must also be changed and sent through the approval process.) Upon successful completion of this course, students will be able to: • Knowledgeably discuss a performance practice issue related to students’ major • Discuss select aspects of technical developments in musical instruments, including voice and orchestra. • Discuss a major musical work composed between 1830 and 1950, defending the choice as a seminal work with significant influence on later composers. • Prepare research papers and give presentations related to topics in music history. 1 MUS 115, Course Outline, Fall 2009 Mary C. J. Byrne, Ph. D. Camosun College/Victoria Conservatory of Music 3. Required -
The Fiddler Magazine General Store Prices Listed in U.S
The Fiddler Magazine General Store Prices listed in U.S. funds. Online ordering (PayPal) available on our website: www.fiddle.com (www.fiddlermagazine.com) SPECIAL OFFERS: • Get a free back issue of your choice with your 3-year subscription! Please indicate 1st, 2nd, and 3rd choices on the order form. • Choose any ten back issues for $50 plus postage, or ALL available back issues for $150 plus postage. Over a $250 value! BACK ISSUES (Only avail. issues are listed below. Quantities limited.) Winter ’02/’03: Matt Glaser; Ruthie Dornfeld; Patrick Ourceau; Bob Fulcher & Music of the Cumberland Trail; History of Swing to Bebop, Part I; Thoth… Spring ’94: Martin Hayes; County Clare Fiddling; Laurie Lewis… Spring ’03: Doug Kershaw; Brendan McGlinchey; Arto Järvelä; Seán Smyth; Taraf Fall ’94 (Note: B&W photocopy): A Short History of Cajun Fiddling; Michael de Haïdouks; History of Swing to Bebop, Part II… Doucet; Barbara Lamb; London Auctions; Barn Dances & House Dances… Summer ’03: Dan Gellert; Rayna Gellert; Bobby Hicks; Paddy Glackin; Chris Fall ’95: Donegal Fiddling; Mairéad Ní Mhaonaigh; Canray Fontenot; Oliver Daring; Daniel Slosberg; Dorado Schmitt; Swing to Bebop, Part III… Schroer; “Cindy” Lyrics; Fiddling in the 1700s; Fiddling Bob Taylor… Fall ’03: Norwegian Fiddling; Håkon Høgemo; Vegar Vårdal; Cowboy Fiddler Bus Win. ’95/’96: Appalachian Fiddling; Charlie Acuff; Stéphane Grappelli; Violet Hensley; Boyk; Pat McManus; Gene Goforth… Jess Morris: Texas Cowboy Fiddler; Violin Books; Learning Tips… Winter ’03/’04: Hollis Taylor; Matt Cranitch; -
Pinning the Daffodil and Singing Proudly: an American's Search for Modern Meaning in Ancestral Ties Elizabeth C
Student Publications Student Scholarship 3-2013 Pinning the Daffodil and Singing Proudly: An American's Search for Modern Meaning in Ancestral Ties Elizabeth C. Williams Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Nonfiction Commons Share feedback about the accessibility of this item. Williams, Elizabeth C., "Pinning the Daffodil and Singing Proudly: An American's Search for Modern Meaning in Ancestral Ties" (2013). Student Publications. 61. https://cupola.gettysburg.edu/student_scholarship/61 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/student_scholarship/ 61 This open access creative writing is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Pinning the Daffodil and Singing Proudly: An American's Search for Modern Meaning in Ancestral Ties Abstract This paper is a collection of my personal experiences with the Welsh culture, both as a celebration of heritage in America and as a way of life in Wales. Using my family’s ancestral link to Wales as a narrative base, I trace the connections between Wales and America over the past century and look closely at how those ties have changed over time. The piece focuses on five location-based experiences—two in America and three in Wales—that each changed the way I interpret Welsh culture as a fifth-generation Welsh-American. -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
The Indexing of Welsh Personal Names
The indexing of Welsh personal names Donald Moore Welsh personal names sometimes present the indexer with problems not encountered when dealing with English names. The Welsh patronymic system of identity is the most obvious; this was normal in the Middle Ages, and traces of its usage survived into the mid-nineteenth century. Patronymics have since been revived as alternative names in literary and bardic circles, while a few individuals, inspired by the precedents of history, are today attempting to use them regularly in daily life. Other sorts of alternative names, too, have been adopted by writers, poets, artists and musicians, to such effect that they are often better known to the Welsh public than the real names. A distinctive pseudonym has a special value in Wales, where a restricted selection of both first names and surnames has been the norm for the last few centuries. Apart from the names themselves, there is in Welsh a linguistic feature which can be disconcerting to those unfamiliar with the language: the 'mutation' or changing of the initial letter of a word in certain phonetic and syntactic contexts. This can also occur in place-names, which were discussed by the present writer in The Indexer 15 (1) April 1986. Some of the observations made there about the Welsh language will be relevant here also. Indexing English names 'Fitzwarin family' under 'F' and 'Sir John de la Mare' According to English practice a person is indexed under 'D' (the last, though French, being domiciled in under his or her surname. First names, taken in England).1 alphabetical order, word by word, are then used to Indexing Welsh names determine the sequence of entries when the same English conventions of nomenclature apply today in surname recurs in the index ('first' = 'Christian' = Wales as much as in England, but there are three 'baptismal' = 'given' = 'forename'). -
ANNIVERSARY CATALOGUE N E Y R 1967-2017 B 50 C Di an D Rif O Gyhoe
H g o a i n w ANNIVERSARY CATALOGUE n e y r 1967-2017 b 50 c di an d rif o gyhoe Books for Wales www.ylolfa.com celebrating 50! Welcome to our 50th Anniversary Catalogue! Following the great party we had in Aberystwyth in May, with two top Welsh bands, it’s still hard to believe we’ve now hit middle age, especially as we’ve always flaunted our roots in the youthful protest of the fun-loving, anti- establishment Sixties! But if we’ve managed to build a such as Nigel Owens and Carwyn James, biographies successful company over the of leading Welsh footballers and also books inspired years, hopefully true to those by Wales’ recent foray into the European Cup. There ideals, how can we complain? are books about Welsh history – national and local Y Lolfa literally means – creative fiction, poetry, ‘The Lounge’ but also ‘Fun- humour and biographies of place’, Lol being the satirical general interest. We now magazine we got involved publish a wide choice for with back in the Sixties. We Welsh learners, and a range were the unofficial printers to of Welsh-interest books for the activist Welsh Language tourists. Society and as publishers we However, please note that aimed at a mix of the political this catalogue includes and popular. Our earliest best- books published in the last seller – selling over 250,000 three years only, with just a Our warehouse in Talybont, with its mural copies – was the humorous few from our backlist. For a by local artist, Ruth Jên Welsh is Fun, and we then full list of titles, authors, and gradually expanded into all sorts of books of Welsh other information, please go interest, in both languages. -
M06 Ymateb Gan Traddodiadau Cerdd Cymru / Response from Music Traditions Wales
Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M06 Ymateb gan Traddodiadau Cerdd Cymru / Response from Music Traditions Wales How do local authority decisions such as business rates, licensing and planning decisions impact upon live music venues? 1. There is very little that Local authorities can do to promote live music venues unless the council has a live music strategy in place. Without the political directive to recognise and value the local music scene local authorities do not see either their social or economic value and therefore do not take measures to preserve them as part of the Authority’s Plan. 2. It’s possible for a local authority to be imaginative, use Planning Gain to require developers to support live music as a “public art”, make measurable provision of live music a condition of renewing and awarding licences but this needs leadership. 3. In our experience, a local authority’s staff, with one or two exceptions do not know how to recognise the value of a live music venue. The social benefits do not fit into their metrics. Very often a policy that seeks to attract inward investment discounts the value of small businesses. 4. Most live music in Wales does not happen in dedicated venues and theatres. It happens in bars & pubs, social clubs, meantime & pop-up spaces, fields, weddings, festivals. It is frequently a valuable part of a business for the retention of customers etc, but rarely forms the main part of a business’ revenue. -
Eisteddfod Handout Prepared for Ninth Welsh Weekend for Everyone by Marilyn Schrader
Eisteddfod handout prepared for Ninth Welsh Weekend for Everyone by Marilyn Schrader An eisteddfod is a Welsh festival of literature, music and performance. The tradition of such a meeting of Welsh artists dates back to at least the 12th century, when a festival of poetry and music was held by Rhys ap Gruffydd of Deheubarth at his court in Cardigan in 1176 but, with the decline of the bardic tradition, it fell into abeyance. The present-day format owes much to an eighteenth-century revival arising out of a number of informal eisteddfodau. The date of the first eisteddfod is a matter of much debate among scholars, but boards for the judging of poetry definitely existed in Wales from at least as early as the twelfth century, and it is likely that the ancient Celtic bards had formalized ways of judging poetry as well. The first eisteddfod can be traced back to 1176, under the auspices of Lord Rhys, at his castle in Cardigan. There he held a grand gathering to which were invited poets and musicians from all over the country. A chair at the Lord's table was awarded to the best poet and musician, a tradition that prevails in the modern day National Eisteddfod. The earliest large-scale eisteddfod that can be proven beyond all doubt to have taken place, however, was the Carmarthen Eisteddfod, which took place in 1451. The next recorded large-scale eisteddfod was held in Caerwys in 1568. The prizes awarded were a miniature silver chair to the successful poet, a little silver crwth to the winning fiddler, a silver tongue to the best singer, and a tiny silver harp to the best harpist. -
The Devolution of the Shepherd Trumpet and Its Seminal
Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.