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100 ALBEN FÜR DIE Rock-SAMMLUNG Längst Kennen Auch Pop Und Rock Ihre Klassiker
AUS DER RILLE OHNE VERFALLSDATUM – 100 ALBEN FÜR DIE ROCK-SAMMLUNG Längst kennen auch Pop und Rock ihre Klassiker. Der Autor wagt mal eine höchst subjektive Auswahl an Alben, die ihren 50. Geburtstag kurz hinter oder knapp vor sich haben. Und die heute noch so faszinieren wie vor einem halben Jahrhundert. VON LOTHAR BRANDT (FREIBERUFLICHER JOURNALIST – WWW.LOTHARBRANDT.DE) Es war einmal ein Versuch. Der Versuch, aus dem Zweitens quantitativ: Wir belassen es bei rund 100 grossen, dem klassischen, dem unwiederbringlichen, Alben; und bei maximal drei pro Künstler oder Band, dem unwiederholbaren, dem unerreichten Jahrzehnt so weh es auch tut. der Pop- und Rockmusik 1966 – 1975 ein Auswahl zu treffen. Bei Nummer 200 zog der Verfasser die Drittens stilistisch: So weh auch das tun mag, aber Reissleine, strich schmerzhaft viel durch und be- der Jazz, der Schlager, die Volksmusik (nicht nur die schloss die rigorose Beschränkung. Schweizer) und auch die Avantgarde bleiben aussen vor. Jedenfalls in ihrer Reinform. Es wird sich zeigen, EINSCHRÄNKUNGEN dass sich viele Rock-Klassiker auch gerne in Randbe- Erstens zeitlich: Aus dem Jahrzehnt wurde das Jahr- reichen bedienten. fünft 1967 – 1972. Bevor jetzt einige Schlaumeier mit mathematischen Grundkenntnissen detektieren, Und viertens formattechnisch: Es geht um reguläre dass die Spanne sechs Jahre umfasst, sei darauf Alben. Best-of-Zusammenstellungen, Zusammestell- hingewiesen, dass es ja nicht um den kompletten ungen verschiedener Künstler (Various Artists Samp- Zeitraum vom 1. Januar 67 bis 31. Dezember 72 geht, ler) und auch Raubpressungen (Bootlegs) sind nicht und dass man zu jener Zeit ohnehin alles nicht so berücksichtigt. Deshalb stehen auch die fünf LPs (I: eng gesehen hat. -
Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
Representations of Rural England in Contemporary Folk Song
Representations of Rural England in Contemporary Folk Song Heather Skinner Institute of Place Management, UK [email protected] Purpose: This paper explores aural representations of the countryside and English rurality through the contemporary cultural product of folk song. Methodology: A textual analysis was undertaken of the sleeve notes and lyrics of Steve Knightley, songwriter and founder member of the folk/roots band Show of Hands. Findings: The concept of the rural idyll is thoroughly debunked in the majority of these lyrics. Many songs make specific reference to place, and these, in the main, focus on the historical and contemporary hardships of living in rural England, in many cases also making explicit reference to the historical or contemporary social issues deemed by the lyricist to be at the root of the problems faced by people living in English rural communities. Research limitations: This article analyses data obtained in lyrics of only one songwriter within only one music genre, but the artist is one of the most respected within the contemporary folk genre, and Show of Hands have won a number of prestigious nationally recognised folk awards. Originality/value: The extant literature contains little concerning aural representations of place identities through song. The contribution this paper makes is therefore in presenting a conceptual framework that shows how folk song, as a contemporary cultural product contributes to the construction and communication of rural place identities. Keywords: Country life; Show -
Representation Through Music in a Non-Parliamentary Nation
MEDIANZ ! VOL 15, NO 1 ! 2015 DOI: 10.11157/medianz-vol15iss1id8 - ARTICLE - Re-Establishing Britishness / Englishness: Representation Through Music in a non-Parliamentary Nation Robert Burns Abstract The absence of a contemporary English identity distinct from right wing political elements has reinforced negative and apathetic perceptions of English folk culture and tradition among populist media. Negative perceptions such as these have to some extent been countered by the emergence of a post–progressive rock–orientated English folk–protest style that has enabled new folk music fusions to establish themselves in a populist performance medium that attracts a new folk audience. In this way, English politicised folk music has facilitated an English cultural identity that is distinct from negative social and political connotations. A significant contemporary national identity for British folk music in general therefore can be found in contemporary English folk as it is presented in a homogenous mix of popular and world music styles, despite a struggle both for and against European identity as the United Kingdom debates ‘Brexit’, the current term for its possible departure from the EU. My mother was half English and I'm half English too I'm a great big bundle of culture tied up in the red, white and blue (Billy Bragg and the Blokes 2002). When the singer and songwriter, Billy Bragg wrote the above song, England, Half English, a friend asked him whether he was being ironic. He replied ‘Do you know what, I’m not’, a statement which shocked his friends. Bragg is a social commentator, political activist and staunch socialist who is proudly English and an outspoken anti–racist, which his opponents may see as arguably diametrically opposed combination. -
Alan Lomax: Selected Writings 1934-1997
ALAN LOMAX ALAN LOMAX SELECTED WRITINGS 1934–1997 Edited by Ronald D.Cohen With Introductory Essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew L.Kaye ROUTLEDGE NEW YORK • LONDON Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All writings and photographs by Alan Lomax are copyright © 2003 by Alan Lomax estate. The material on “Sources and Permissions” on pp. 350–51 constitutes a continuation of this copyright page. All of the writings by Alan Lomax in this book are reprinted as they originally appeared, without emendation, except for small changes to regularize spelling. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Lomax, Alan, 1915–2002 [Selections] Alan Lomax : selected writings, 1934–1997 /edited by Ronald D.Cohen; with introductory essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew Kaye. -
June 28, 29 & 30, 2013
33rd annual music with roots 2013 June 28, 29 & 30, 2013 Welcome to the 33rd annual music with roots THE MISSION OF OLD SONGS, INC. FUNDING PROVIDED BY Old Songs, Inc. is a not-for-profit organization dedicated to keeping traditional This event is made possible with public funds from the New music and dance alive through the presentation of festivals, concerts, dances and York State Council on the Arts, with the support of Governor educational programs. Andrew Cuomo and the New York State Legislature. THANK YOU FOR YOUR SUPPORT SOUND SUPPORT Meadowlark Farms (flowers) • REM Printing • Michael Jarus • Andy’s Front Hall Specialized Audio/John Geritz, Ian Hamelin and crew, Altamont Fairgrounds • Terry & Donna Mutchler • Voorheesville Carpet Co. Euterpe Sound/Clyde Tyndale, Tim Parker, Kate Korolenko, Scott Petersen, Dave and Cyndi Reichard OUR ENVIRONMENT We are grateful to have such a lovely shaded place to have a festival. Please DOCUMENTATION use the RECYCLE barrels for all plastic, aluminum, and glass containers. Flatten Don Person, Bill Houston, Bill Spence, Hannah Spence cardboard and place it next to a barrel. Use TRASH BARRELS for refuse. PICK UP and Neil Parsons after the concerts. Ride your BICYCLES in the designated areas. Wear shoes, use sunscreen and drink lots of water. Smoke away from the seated audience. Thanks SPONSORS from all who share this place. Old Songs would like to thank the following businesses and individuals for SEATING/CHAIR POLICY their sponsorship of the 2013 Old Songs Festival: Seating at the Main Stage and in Areas 2, 3, 6, 7 and 8 is divided into low and high The Global Child - Chet & Karen Opalka Price Chopper sections. -
Michael Brocken, the British Folk Revival 1944-2002. / Britta Sweers
FZMw Jg. 7 (2004) S. 105–112 Michael Brocken, The British Folk Revival 1944-2002. Ashgate Popular and Folk Music Series Aldershot: Ashgate, 2003, ISBN: 0-7546-3282-2 Rezension von Britta Sweers –1– Die traditionelle Musik Großbritanniens und Irlands erlebte nach dem Zweiten Welt- krieg ein Revival, das seit den späten 1960er Jahren auch einen starken Einfluss auf Deutschland ausgeübt hat. Speziell die englische Revival-Szene hat dabei eine wichtige Vorreiter-Rolle sogar in ganz Westeuropa gespielt. Dennoch ist die englische "Folk- musik" (der Begriff steht im Deutschen synonym für die Musik des sogenannten Second English Revivals der 1950er/60er Jahre) außerhalb der Britischen Inseln weit weniger bekannt als die schottischen und irischen Richtungen. Dies spiegelt sich auch in der Literatur wider – es gibt (selbst in Großbritannien) nur wenige neuere Studien sowohl zu englischen Musiktraditionen als auch zu den Revivalbewegungen oder gar zum Folk Rock. Michael Brocken, Senior Lecturer für Creative and Performing Arts in Liverpool und Radio-Moderator, stößt daher mit seinem Buch The British Folk Revival 1944-2002 durchaus in eine empfindliche Lücke. –2– Die verschiedenen Kapitel der Studie geben einen guten Einblick in die Geschichte dieser Musikrichtung. Da die Entwicklungen der Nachkriegszeit ohne Kenntnis der Ideologien des sogenannten First Folk Revivals (ca. 1880-1920er Jahre) nur schwer nachvollziehbar sind, steht am Beginn des Buches zunächst eine kritische Auseinander- setzung mit den frühen Sammlern um Cecil Sharp (1859-1924) und Ralph Vaughan Williams (1872-1958). So wurde in dieser Phase erstens das Lied- und Balladenmaterial zusammengetragen, welches die Grundlage für das spätere Revival bilden sollte, und zweitens die zentrale Institution – die English Folk Dance and Song Society ( EFDSS ) – gegründet, welche nach wie vor als (aufgrund ihrer eher elitären Haltung nicht unum- strittener) Kern der Pflege von Volks- und Tanzmusik in England gilt. -
Alpine Volksmusik Manual
Alpine Volksmusik Manual Welcome to Alpine Volksmusik, the first virtual Volksmusik Kapelle! Alpine Volksmusik offers 24 single instruments, from accordion to the „Zillertaler“ violin. This collection offers everything you need to compose music in the authentic Alpine and Upper Carniola style. Only the best artists from this genre have been recorded for this instruments: Bass Trombone: Sebastian Fuchsberger Baritone Horn: Sepp Mattlschweiger Trumpet: Ivan Prešern Tuba: Jon Sass Clarinet: Prof. Vito Muženic Guitars: Renato Verlic, Sabrina Klotz Voice: Freddy Pfister Alpine Volksmusik - Manual 2 Instruments Solo Trumpet & Trumpet ensemble - Ivan Prešern Ivan Presern, longtime member of the Alpenoberkrainer group from Slovenia, is well-known to all Oberkrainer music fans. His virtuosity (“Ivan spielt auf”) and his ingenious compositions have big influence on the Alpski Sound. The trumpet is also available as a ensemble. Special features: Legato (on / off): Play realistic legato Keyswitches: C1: Long D1: Marcato E1: Staccato Clarient - Prof. Vito Muzenic Prof. Vito Muzenic from Slovenia, played the clarinet for our recordings. His unique and emotional style are a main ingredient for the original Oberkariner Sound. If you ever get the chance to hear him play live, don’t miss out! Special features: Legato (on / off): Play realistic legato Keyswitches: C1: Long D1: Soft Long Alpine Volksmusik - Manual 3 Baritone Horn - Sepp Mattlschweiger Sepp Mattlschweiger is the number 1 baritonist in Austria. Even when playing the “Big C” his baritone horn has the same power as in the higher ranges. Sepp and his group, Juchee, are also great live performers! Special features: Low EQ: More bass, especially for Baritone Legato (on / off): Play realistic legato Keyswitches: C1: Marcato D1: Staccato Bass Trombone - Sebastian Fuchsberger The Bass Trombone, was played by Sebastian Fuchsberger, a great musician and founding member of the Austrian band Global Kryner. -
Klaus Karl Und Die Entwicklung Der Melodiegitarre in Der Volksmusik
Hubert Eberl Matr.Nr.: 10BU098 Klaus Karl und die Entwicklung der Melodiegitarre in der Volksmusik Master-Arbeit Zur Erlangung des Akademischen Grades Master of Arts des Studiums Konzertfach Master Gitarre an der Anton Bruckner Privatuniversität Linz Betreut durch: Prof. Wolfgang Jungwirth O.Univ.Prof. Dr. Peter Maria Krakauer Telfes, Sept. 2014 Inhaltsverzeichnis Vorwort ............................................................................................................................... 1 1. Die geschichtliche Entwicklung der Melodiegitarre in der Volksmusik 1.1. Einleitung ..................................................................................................................... 2 1.2. Bis 1900 ........................................................................................................................ 2 1.3. 20. Jahrhundert ............................................................................................................. 5 2. Tobi Reiser 2.1. Einleitung ................................................................................................................... 11 2.2. Leben .......................................................................................................................... 12 2.3. Tobi Reiser und die Gitarre ........................................................................................ 12 3. Sepp Karl 3.1. Einleitung ................................................................................................................... 15 3.2. Leben ......................................................................................................................... -
Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists. -
Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old. -
Trollfågeln the Magic Bird
EMILIA AMPER Trollfågeln The Magic Bird BIS-2013 2013_f-b.indd 1 2012-10-02 11.28 Trollfågeln 1. Till Maria 5'00 2. G-mollpolska efter Anders Gustaf Jernberg 3'25 3. Ut i mörka natten 4'55 4. Isadoras land 3'50 5. Trollfuglen 2'25 6. Polska fra Hoffsmyran 4'02 7. Herr Lager och skön fager 3'08 8. Brännvinslåt från Torsås 2'40 9. Pigopolskan / Den glömda polskan 5'08 10. När som flickorna de gifta sig 4'05 11. Kapad 4'44 12. Bredals Näckapolska 3'01 13. Galatea Creek 3'19 14. Vals från Valsebo 8'56 TT: 59'42 Emilia Amper nyckelharpa, sång Johan Hedin nyckelharpa Anders Löfberg cello Dan Svensson slagverk, gitarr, sång Olle Linder slagverk, gitarr Helge Andreas Norbakken slagverk Stråkar ur TrondheimSolistene: Johannes Rusten och Daniel Turcina violin Frøydis Tøsse viola, Marit Aspaas cello Rolf Hoff Baltzersen kontrabas 2 Trollfågeln innehåller 14 spår som på många sätt illustrerar mig som person och mitt liv som musiker och kompositör. Här är musiken som jag brinner för, en brokig skara låtar där traditionella svenska polskor möter nykomponerad musik inspirerad av andra länders folk- musik, och av pop, rock och kammarmusik. Jag spelar och sjunger solo eller tillsammans med goda vänner från både folkmusik och klassiskt. Som 10-åring förälskade jag mig i nyckelharpan vid första ögonkastet! Barndomens direkta glädje av instrument och melodier övergick efterhand i ett växande intresse för folkmusiken som genre. Jag mötte musik och människor från hela världen, och för mig var det liksom samma språk vi alla talade, ett språk där kopplingen mellan musik och dans är direkt och självklar.