DOCSLIB.ORG

Access to Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Access to Thesis Access to Electronic Thesis Author: Simon Furey Thesis title: Harmony in Discord: An Analysis of Catalan Folk Song Qualification: PhD Date awarded: 15th March 2002 This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Department of Hispanic Studies University of Sheffield Harmony in Discord: An Analysis of Catalan Folk Song Simon Furey July 2001 Thesis submitted for the degree of Doctor of Philosophy Harmony in Discord Abstract 2 ABSTRACT Traditional folk song is a reflection of the society that creates it. In the Catalan case it reflects not only Catalan society but also those of Valencia and the Balearic Islands, for whom forms of the Catalan language are native. This present thesis investigates the corpus of folk song in Catalan and puts it into the context of the nation states that encompass it, i.e. France and Spain. The great era of European folk-song collection was between the mid-19th century and the First World War. The early part of this period coincides with the Catalan Renaixença: the revival of interest in Catalan language and culture. However, in the Catalan case, extensive song collection continued through the cultural periods of Modernisme and Noucentisme and up until the outbreak of the Spanish Civil War. Much was documented in the publications of the Obra del cançoner popular de Catalunya, but even that great unfinished work has had no critical appraisal to date. A second theme of this thesis is therefore to begin such an appraisal, and put the work into the context of all of the major Catalan folk-song collections, which contain thousands of songs collected in both France and Spain. All the songs considered here are to be found in books, journals and recordings published between 1852 and 2001. The subject matter and song types are described and categorised, ranging from ballads and love songs to drinking songs and Christmas carols. The songs of the Països Catalans are compared with the music and songs of other traditions to identify influences and possible sources of specific material. With reference to work currently (c. 2001) taking place in Catalonia, the focus of this thesis ranges from the descriptive to the interpretative and analytical. The analyses consider words and music taken together, with performance too where possible. Because the song corpus is large but not well known, this thesis may be used as a high-level reference source to find the material. A computer-based indexing system (a database) has been developed as part of this project with the ambition of eventually providing a single, unified and more detailed reference source for all of the songs, centred on the field work of the still incomplete Obra del cançoner popular de Catalunya. The thesis is accompanied by a CD-ROM (PC only) containing the database as it currently stands. An additional database is also provided on the CD-ROM: a much-needed index of the contents of the Romancerillo Catalán of Manuel Milà i Fontanals. The databases are tools for continuing research and indicators of significant directions that future work might follow. Harmony in Discord Contents 3 TABLE OF CONTENTS ABSTRACT ........................................................ 2 TABLE OF CONTENTS ............................................... 3 LIST OF ILLUSTRATIONS ........................................... 6 ACKNOWLEDGEMENTS ................................................ 8 DECLARATION .................................................... 10 LIST OF ABBREVIATIONS .......................................... 11 1 INTRODUCTION .............................................. 12 1.1 Subject Matter ....................................... 12 1.2 Definition and Approach .............................. 13 PART I: SOURCES ................................................ 17 2 HISTORY OF CATALAN COLLECTION AND RESEARCH ................ 18 2.1 Milà i Fontanals and the 19th-Century Revival ........ 18 2.2 The Heyday of Collection: 1900 Until the Civil War ... 22 2.3 The Franco Years and the Role of Joan Amades ......... 26 2.4 Post-Franco Work: Picking Up the Pieces .............. 29 2.5 Present-day Activities and Research .................. 36 3 STUDIES OF THE OBRA DEL CANÇONER POPULAR DE CATALUNYA ..... 37 3.1 Introduction ......................................... 37 3.2 History, Scope and Coverage .......................... 38 3.3 Francesc Pujol: Chromaticism, Modality and Tonality in Catalan Folk Song .................................... 49 3.4 Palmira Jaquetti - Collector Extraordinary ........... 66 PART II: SONGS ................................................. 74 4 INTRODUCTION TO THE SONGS ................................. 75 5 THE LONG SONGS ............................................ 78 5.1 Narrative Songs: the Romances ........................ 83 5.2 Narrative Songs: the Broadsides ...................... 86 5.3 Women in Catalan Traditional Songs ................... 88 5.4 Men in Catalan Traditional Songs ..................... 97 5.5 Love and Marriage ................................... 101 5.6 Religion and Religious Songs ........................ 105 5.7 Songs of Magic ...................................... 114 5.8 Songs of Amusement .................................. 117 5.9 Themes of Death ..................................... 122 5.10 Summary ............................................. 124 6 THE SHORT SONGS .......................................... 125 6.1 General Points ...................................... 125 6.2 Love Songs .......................................... 126 6.3 Work Songs .......................................... 129 6.4 Topographical Songs ................................. 130 6.5 Sea Songs ........................................... 132 Harmony in Discord Contents 4 6.6 The Cançons de Pandero and Caramelles ............... 137 6.7 The Valencian Cançons d'Estil and Musical Geography . 139 6.8 Francesc de B. Moll's Analysis of Les cançons curtes. 141 PART III: ANALYSES ............................................ 149 7 MUSIC .................................................... 150 7.1 Melodic Form ........................................ 150 7.2 Baltasar Samper and the Music of the Balearic Work Songs .................................................... 162 7.3 Rhythm .............................................. 166 7.4 Harmony ............................................. 168 7.5 Accompaniment ....................................... 171 8 PERFORMANCE .............................................. 174 8.1 Dance ............................................... 174 8.2 Work ................................................ 174 8.3 Religion ............................................ 175 8.4 Other Social Occasions .............................. 176 8.5 Children's Songs .................................... 176 8.6 Performers .......................................... 177 8.7 Modern Performance .................................. 178 9 MANIFESTATIONS OF OTHER LANGUAGES ........................ 180 9.1 Introduction ........................................ 180 9.2 Castilian ........................................... 182 9.3 French .............................................. 191 9.4 Provençal ........................................... 193 9.5 Sardinian (Italian) ................................. 195 9.6 English ............................................. 196 9.7 Other Languages ..................................... 199 10 ODDITIES IN THE CATALAN FOLK-SONG CORPUS ................. 201 10.1 Introduction ........................................ 201 10.2 Musical Escapes ..................................... 201 10.3 The Serrana ......................................... 202 10.4 Musical Dislocation ................................. 205 11 REFERENCING THE SOURCE MATERIAL: TOWARDS AN IMPROVED METHOD OF INDEXING FOLK SONGS ................................... 214 11.1 Index of Materials of the OCPC ...................... 214 11.2 Index for the Romancerillo catalán of Manuel Milà i Fontanals ........................................... 222 12 CONCLUSIONS .............................................. 223 APPENDICES .................................................... 228 Appendix A. Glossary of Terms Used for Short Songs ....... 229 Appendix B. The OCPC Materials Index Software ............ 230 Appendix C. The Romancerillo catalán Index Software ...... 231 Harmony in Discord Contents 5 BIBLIOGRAPHY AND REFERENCES ................................... 232 Works Referenced ......................................... 232 Selected List of Other Works Consulted ................... 237 Discography .............................................. 243 Internet References ...................................... 244 INDEX ......................................................... 246 Harmony in Discord Contents 6 LIST OF ILLUSTRATIONS Figure 1 : The Països Catalans and the Linguistic Boundary .......... 31 Figure 2 : Example of Pujol's Transient Chromaticism ................ 52 Figure 3 : Example of Pujol's Structural Chromaticism ............... 55 Figure 4 : Song Analysed for Structural Chromaticism by Pujol ....... 56 Figure 5 : Further Analysis by Pujol ................................ 56 Figure 6 : Chromaticism Example of Pujol ...........................
Load more

Recommended publications
  • Compota De Cobla Dossier Didàctic Índex
    Compota de Cobla Dossier didàctic Índex 2 Presentació 3 Fitxa artística 4 Objectius i suggeriments didàctics 5,6 Material específic pel treball del concert 7,8 Breus apunts sobre la història de la cobla 9 a 15 Instrumentació 16,17 Discografía 18 Bibliografia i enllaços a Internet 1 Presentació La cobla és una de les formacions instrumentals més representatives de la música tradicional i popular catalana. D´entre els instruments que la configuren trobem instruments tant antics com el flabiol i tant peculiars com el tible o la tenora. El concert que us oferim vol ser una aproximació a aquesta agrupació instrumental. Presentar els diferents instruments, la seva constitució i possibilitats sonores i parlar de la història de la música popular catalana són alguns dels propòsits d´aquest espectacle. El conte “Compota de cobla” ens donarà la possibilitat d´escoltar els instruments per separat i gaudir del so de la cobla. A més a més, comptem amb una de les cobles de més prestigi del nostre país que seran els encar- regats de fer-nos passar una bona estona de concert: la Cobla Sant Jordi- Ciutat de Barcelona. Així doncs, esperem que el present dossier sigui d´interès. Us recomanem que el fullegeu amb temps i cura. 2 Fitxa artística COBLA SANT JORDI-CIUTAT DE BARCELONA Guió, coordinació i direcció artística: La Botzina Enric Ortí: tenora Josep Antoni Sánchez: tenora Presentador: Toni Cuesta Conte: Joana Moreno i Toni Cuesta Música del conte: Jordi Badia Producció: Cobla Sant Jordi-Ciutat de Barcelona i La Botzina WWW.coblasantjordi.cat 3 Objectius En el disseny de la present proposta de concert vàrem creure necessari assolir els següents objectius didàc tics: - Oferir música en directe a través d´una formació instrumental de mitjà format ( 11 músics) - Procurar que els oients s´ho passin bé gaudint d´un concert d´aquestes carecterístiques - Iniciar en el coneixement dels diferents instruments que formen part d´una cobla, escoltar el seu so i conèixer les característiques més destacables.
    [Show full text]
  • Catalogue 2021
    medir .cat Catalogue 2021 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Summary Clarinet 04 Sax 12 Historic Instruments 21 Bassoon 28 Oboe & English Horn 51 Traditional & Folk Instruments 73 Bag pipe & Uilleann Pipe 79 Cork 88 medir.cat 03 Clarinet medir.cat 04 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Medir Reeds C108 Bb Clarinet - 10 pieces C1085 Bb Clarinet - 5 pieces C117 Eb Clarinet - 10 pieces C1175 Eb Clarinet - 5 pieces Strenght: 1,5 / 2 / 2,5 / 3 / 3,5 / 4 / 4,5 / 5 C113 Bass Clarinet - 10 pieces C1135 Bass Clarinet - 5 pieces C108 C1085 Strenght: 2 / 2,5 / 3 / 3,5 / 4 / 4,5 C113 C108 medir.cat 05 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Medir Cane C101 Clarinet Tube Cane - 1 Kg Diameter: >25mm / Thickness >3 mm C103 Bb Clarinet Splits - 100 pieces Length: 69 mm / Thickness: >3 mm C104 Bb Clarinet Flat Blank - 100 pieces Length: 69 mm / Thickness: 2,2 mm C101 C103 C105 Bb Clarinet Blanks - 100 pieces Filled / Unfilled C106 Bb German Clarinet Blanks - 100 pieces C107 Eb Petit Clarinet Blanks - 100 pieces Filled C104 C105 medir.cat 06 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Mouthpieces C110B Bb Clarinet C110E Eb Clarinet C110BS Bb Bass Clarinet Tip opening: close, 3, 4, 5, 6, open Ligatures C111 C111B Bb Clarinet C111E Eb Clarinet
    [Show full text]
  • El Flabiol De Cobla En El Segle Xx1
    EL FLABIOL DE COBLA EN EL SEGLE XX1 Jordi León Royo (Barcelona), Pau Orriols Ramon (Vilanova i la Geltrú), amb la coŀlaboració de Josep Vilà Figueras (Cornellà de Llobregat) Jordi León Joaquim Serra, el 1948, va fer un curs d’instrumentació per a cobla, ja que coneixia molt bé les possibilitats tímbriques i sonores dels instruments que formen aquest conjunt. Més tard, l’Obra del Ballet Popular i altres institucions van tenir interès que això es publiqués, i en va sortir el Tractat d’instrumentació per a cobla, aparegut el 1957. Com qualsevol tractat d’instru- mentació, comença descrivint els instruments un per un i, quan parla del flabiol, després d’explicar quina és la seva extensió, la nota més greu, la nota més aguda, que està afinat en FA, que és un instrument transpositor, etc., diu textualment: «el flabiol és un instrument summament imperfecte, no és possible tro- bar-ne originàriament cap model ben afinat, i solament alguns flabiolaires amb bona voluntat, fent retocs als seus instruments, han aconseguit posar-lo en condicions acceptables d’afinació». És cert que, si mirem altres tractats d’orquestració, com pu- guin ser els que en el seu moment van escriure Hector Berlioz o Rimski-Kórsakov, hi trobarem moltes coses referides als instru- ments de la seva època, als instruments del segle xix, que ja no han estat vàlides per als instruments del segle xx i menys per als del xxi. El que vull dir amb això és que aquesta apreciació de Joaquim Serra de cap a 1950 avui dia ha passat de moda.
    [Show full text]
  • Article Journal of Catalan Intellectual History, Volume I, Issue 1, 2011 | Print ISSN 2014-1572 / Online ISSN 2014-1564 DOI 10.2436/20.3001.02.1 | Pp
    article Journal of Catalan IntelleCtual HIstory, Volume I, Issue 1, 2011 | Print ISSN 2014-1572 / online ISSN 2014-1564 DoI 10.2436/20.3001.02.1 | Pp. 27-45 http://revistes.iec.cat/index.php/JoCIH Ignasi Casanovas and Frederic Clascar. Historiography and rediscovery of the thought of the 1700s and 1800s* Miquel Batllori abstract This text shows the similitudes and the differences between Ignasi Casanovas and Frederic Clascar, two of the most important representatives of the religious thought in Catalonia, in the first third of the 20th century. The article studies their philosophi- cal writings in the rich context of their global work, analysing their deficiencies and underlining the positive contribution to the Catalan culture. key words Ignasi Casanovas, Frederic Clascar, religious thought. I would like to begin with a small anecdote on the question as to whether there is such a thing as “Catalan” philosophy. Whilst teaching at Harvard, Juan Mar- ichal, publisher and scholar of the life and political works of Manuel Azaña, was asked by an American colleague what he taught there. On receiving the answer “the History1 of Latin America Thought”, the colleague replied, “Is there such * We would like to thank INEHCA and the Societat Catalana de Filosofia (Catalan Philo- sophical Society) for allowing us to public the text of this speech given by Father Miquel Batllori on 26 February 2002 as part of the course “Thought and Philosophy in Catalonia. I: 1900- 1923” at the INEHCA. The text, corrected by Miquel Batllori, has been published in the first of the volumes containing the contributions made in these courses: J.
    [Show full text]
  • La Simfònica De Cobla I Corda De Catalunya
    LA SIMFÒNICA DE COBLA I CORDA DE CATALUNYA NINA · CRIS JUANICO · PEP POBLET LA PRINCIPAL DE LA BISBAL JOVE ORQUESTRA DE LES COMARQUES GIRONINES FRANCESC CASSÚ, DIRECTOR 30 DE NOVEMBRE DE 2012 A LES 9 DEL VESPRE AUDITORI DE GIRONA · SALA MONTSALVATGE La facultat de ser creatius, impulsar i estimar la nostra cultura és el que diferencia l’ésser humà de la resta d’éssers vius, i també la clau del nostre progrés com a poble. Tinguem cura de preservar la nostra cultura avui, no sigui que es converteixi en la nostra incultura demà. PRESENTACIÓ PRESENTACIÓN / PRESENTATION Artur Mas President de la Generalitat de Catalunya «La feina ben feta no té fronteres» va ser un eslògan usat per la Generalitat ja fa uns quants anys per promocionar la qualitat del treball i l’excel·lència. Sembla que els amics de METALQUIMIA van fer cas d’aquest lema, i per això avui dia són una de les millors empreses catalanes i una de les punteres a nivell internacional del seu sector. Però el que vull destacar ara és la generositat i el compromís que METALQUIMIA sempre ha tingut amb Catalunya i, especialment, amb la nostra cultura. La creació, l’any 2008, de La Simfònica de Cobla i Corda de Catalunya, que agrupa músics de La Principal de la Bisbal i de la Jove Orquestra de les Comarques Gironines, tutelada per l’Orquestra de Cadaqués, és un bon exemple d’aquest altruisme i de l’encert de la iniciativa. La Simfònica de Cobla i Corda de Catalunya ens presenta enguany el nou treball Llegendes del cinema, que reuneix peces inoblidables de pel·lícules de totes les èpoques.
    [Show full text]
  • Galata Electroacoustic Orchestra (GEO) Lifelong Learning Programme IP N° 2012-1-IT2-ERA10-38878
    Genova, 15-26 July 2013 Conservatorio Niccolò Paganini Via Albaro 38, Genova Galata Electroacoustic Orchestra (GEO) Lifelong Learning Programme IP n° 2012-1-IT2-ERA10-38878 COORDINATOR CONSERVATORIO STATALE DI MUSICA "N. PAGANINI" [I GENOVA02] PARTNERS ISTANBUL BILGI ÜNIVERSITESI [TR ISTANBU11] ISTANBUL TEKNIK ÜNIVERSITESI [TR ISTANBU04] UNIVERSITAT POMPEU FABRA [E BARCELO15] CONSERVATORIO DI MUSICA "G. PIERLUIGI DA PALESTRINA" [I CAGLIAR02] 1. Introduction The GEO project (Galata Electroacoustic Orchestra) is inspired by the historical relations between Genova and Istanbul. The general objectives of GEO IP is: 1) to found the Galata Electroacoustic Orchestra, a small group orchestra based on an idea of live collective composition; 2) to merge of the Western Classical tradition of score- based music and the Improvisational techniques, in particular of Turkish Maqam Music. As the dialogue between the three Countries (Turkey, Spain and Italy) involved in the IP is an important objective for GEO, we adopted the sealing map ( portolano ) as a guide metaphor for the project (when a ship docks, the goods – in our case: the musical products – from one country are unloaded and goods from another country are loaded). The expected learning outcomes are related to the acquisition of skills and abilities in the following disciplinary areas: theoretic, ethnomusicological, technological, performing and compositional. The expected outputs of the GEO IP project are: - a concert by the Galata Electroacustic Orchestra at the end of the IP; - a permanent
    [Show full text]
  • Fes Teva La Cultura Popular
    Fes teva la cultura popular Programa d’activitats educatives a les Cases de la Festa Arian Botey, La Botzina Arian Botey, 12x11 audició per a cobla Educació primària bcn.cat/ casesdelafesta Índex Presentació 3 Fitxa artística 4 Objectius didàctics 5 Suggeriments didàctics 5 Breus apunts sobre la història de la cobla 6 Instrumentació 7 Discografia 12 Bibliografia 13 Enllaços a internet 13 2 12x11 audició Educació per a cobla primària Presentació La cobla és una de les formacions instrumentals més representatives de la música tradicional i popular catalana. Entre els instruments que la configuren trobem instruments tan antics com el flabiol i tan peculiars com el tible o la tenora. El concert que us oferim vol ser una aproximació a aquesta agrupació instrumental. Alguns dels propòsits de l’espectacle són: presentar els diferents instruments, la seva constitució i possibilitats sonores i parlar de la història de la música popular catalana. Durant la sessió es fa un repertori de concert amb sardanes, danses, peces de concert per a cobla i adaptacions. A més a més, comptem amb una de les cobles de més prestigi del nostre país: la Cobla Sant Jordi- Ciutat de Barcelona. Ells seran els encarregats de fer-nos passar una Arian Botey, La Botzina Arian Botey, bona estona. Així doncs, esperem que el present dossier sigui del vostre interès. Us recomanem que el fullegeu amb temps i cura. 3 12x11 audició Educació per a cobla primària Fitxa artística Cobla Sant Jordi Ciutat de Barcelona Xavier Torrent: flabiol Marc Timón: tible Oriol Gibert: tible Enric Ortí:
    [Show full text]
  • The Activities of the Institut Ramon Llull in the Con- Text of Multicultural Collaboration Between Spain and Russia
    THE ACTIVITIES OF THE INSTITUT RAMON LLULL IN THE CON- TEXT OF MULTICULTURAL COLLABORATION BETWEEN SPAIN AND RUSSIA M. Moseykina, Y. Moseykin, E. Kargovskaia, V. Kuznetsova Peoples' Friendship University of Russia (RUDN University) (RUSSIAN FEDERATION) Abstract Language is the main means of communication between people. It allows us to express thoughts and emotions, helps us learn and teach. Language is a basic way of culture and traditions transmitting, as well as solving many other vital tasks. The official motto of the European Union is "United in diversity". This means that the multitude of cul- tures, traditions and languages in Europe is a positive capital for the continent. Undoubtedly European countries are a prime example of linguistic and cultural diversity. In Spain along with Spanish (Castilian) there are four co-official languages: Catalan, Galician, Basque and Aranese. It has not been an easy task to conserve multilingualism in Spain. This is the result of a complex process of deliberate saving of cultural and linguistic identity both between different regions and peoples of Spain and in the international scene. In the European Union, Catalan is the 14th language by the number of speakers, in the other words, it is spoken much more often than languages such as Slovakian, Lithuanian or Danish. Catalan is co- official language in the Spanish autonomous regions of Catalonia, Valencia and the Balearic Islands. Also, it is the only official language of the independent state of Andorra. Moreover, Catalan is spoken in the French department of Pyrénées Orientales and in the Italian city of Alghero in Sardinia. Today, the main instrument for popularizing Catalan culture and conducting activities to the spread of Catalan language abroad is the Institut Ramon Llull.
    [Show full text]
  • Catalan in the Classroom: a Language Under Fire Sara Fowler
    Catalan in the Classroom: A Language Under Fire Sara Fowler Hawaii Pacific University Abstract This paper describes the role of Spain’s largest minority language, Catalan, in Spanish society, specifically in the classroom. Throughout its history, Catalan has gone through many cycles of oppression and revival. Currently, despite several decades of positive progress in its official role and a growing number of young speakers, Catalan is facing new challenges once again. Some members of the Spanish government believe that the language of instruction in Catalonia should be Castilian, a development which the citizens of Catalonia feel is an attack on their linguistic rights and identity. Catalan is a well-documented example of the tensions which can arise in a country with a minority language or languages. The Catalan case can also serve as a reminder to English teachers that the politics of language are often more complicated than they seem; teachers must be aware of and sensitive to the cultural and political backgrounds of their students. Introduction It is a fact that linguistic boundaries and political borders are not a perfect match; nevertheless, most people associate one language with one country. For example, the name Spain, for many people, brings to mind one language: Spanish. However, Spanish, or “Castilian” as it is more specifically called, is not the only language in Spain. There are 15 languages spoken in Spain—one official language and three other “co-official” languages, the largest of which is Catalan, spoken as a “mother tongue” by approximately nine percent of the population, compared to five percent speakers of Galician and a mere one percent who speak Euskera (Basque) as a mother tongue (Ethnologue, 2014; European Commission, 2006, p.
    [Show full text]
  • The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality
    CASSANDRE BALOSSO-BARDIN,a AUGUSTIN ERNOULT,b PATRICIO DE LA CUADRA,c BENOÎT FABRE,b AND ILYA FRANCIOSIb The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality. hen interviewed about the technique as the Greek tsampouna or the Tunisian mizwid) to of the bag, bagpipe maker and award- a fully chromatic scale over two octaves (the uilleann winning Galician piper Cristobal Prieto pipes from Ireland and some Northumbrian small- Wsaid that. ‘the handling of the bag is one of the most pipes chanters). Bagpipes in their simplest form are important things. The secret of the bagpipes is how composed of a bag with a blowpipe and a melodic one uses the bag […] You need a lot of coordination: pipe (hereafter referred to as the chanter).2 Other blowing, fingers […] it depends on the arm, the pipes can then be added such as a second melodic pressure of the air. The [finger] technique is much pipe, semi-melodic pipes or drones.3 The blowpipe simpler. Everyone blows all over the place when they is usually, but not always, fitted with a small valve start to play. It’s like a car: you have to think how you in order to prevent the air from leaving the bag. In are going to do all of this at the same time. The use models without this system, the piper uses his/her of the bag is the most important aspect, even more tongue to prevent the air from escaping whilst s/he than the fingers, [or] velocity’.1 breathes in.
    [Show full text]
  • CD DPS1 Compact Disc Booklet
    CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos. SIGCD006 SIGCD007 SIGCD008 SIGCD009 Music for Philip of Spain Two upon a ground: Jupiter The Fitzwilliam Virginal Book and his four wives Duets and Divisions for two viols SIGCD018 SIGCD020 SIGCD026 Sacred Songs of Sorrow The Queen’s Goodnight Music for Gainsborough SIGCD032 SIGCD041 SIGCD042 SIGCD049 The Sultan and the Phoenix Modus Phantasticus Tallis 9 Harmonia Caelestis www.signumrecords.com www.charivari.co.uk Available through most record stores and at www.signumrecords.com. For more information call +44 (0) 20 8997 4000 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos. ESPERAR SENTIR MORIR Instrumentarium Songs and dances from the Hispanic Baroque Susanne Heinrich a treble viol (M.D. Attwood, 1993) after Henry Jaye (mid 17C) b bass viol (M.D. Attwood, 1999) after anon. 17C English original Kah-Ming Ng c chamber organ (V.Woodstock, 1996) d harpsichord (A. Garlick, 1977) after I. Ruckers 1638 1. Juan Hidalgo (c.1612–1685) / arr. K-M Ng Esperar, sentir, morir [b, c, e] [4.31] Constance Allanic e triple harp (C.H. Hüttel, 2002) after 17C Italian iconography 2. Kah-Ming Ng & Clara Sanabras Quiero, y no saben que quiero [b, e, h] [9.06] Richard Sweeney f 16-course theorbo (K. Jacobsen, 2002) after various 17C Italian models 3. Lucas Ruiz de Ribayaz (b. 1626) Españoletas [e] [4.58] g 6-course lute (A.
    [Show full text]
  • History, Historiography and the Ambiguities of Catalan Nationalism’, In: Studies on National Movements, 1 (2013) Pp
    Enric Ucelay-Da Cal HISTORY, HISTORIOGRAPHY AND THE AMBIGUITIES OF CATALAN NATIONALISM This essay shall attempt to address some of the major difficulties encountered in the study of nationalism, with attention focused on Catalan nationalism and Catalan history.1 Precisely because the stress of the interpretation is on ambiguity, this article will use the most ambiguous (if also most common) Catalan term for patriotic or nationalist feelings: catalanisme or, literally, ‘Catalanism’. Both the questions and interpretation presented here are idiosyncratic, rather than representative, given that the author, who, not being a Catalan nor being a convert to the premises of catalanisme, has criteria regarding Catalan nationalism which are not shared by much of the profession in Catalonia, which is indeed partial, if not militant, in its feelings. Nor, it should be added, does he feel any particular regard for the often gratuitous suppositions of Spanish nationalist historians, who are increasing in presence and noise. Can a historian narrate a nationalist movement over time, and in context, without taking sides, without being influenced by the special pleading that all nationalisms, indeed, all social movements, invoke to buttress their case? Can the historian be without compassion, and not respond to the victimised nature of a ‘losing’, that is stateless, nationalism? Can the studious analyst avoid the implicit assumptions hidden in a field, say Hispanism or Hispanic studies, dedicated to the Spanish language and its culture, which is cluttered with doubtful suppositions? Is it even possible Enric Ucelay-Da Cal, ‘History, historiography and the ambiguities of Catalan nationalism’, in: Studies on National Movements, 1 (2013) pp.
    [Show full text]