In Search of Blind Blake Arthur Blake’S Death Certificate Unearthed by Alex Van Der Tuuk, Bob Eagle, Rob Ford, Eric Leblanc and Angela Mack
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The Secret Speech of Lirnyky and Kobzari Encoding a Life Style Andrij Hornjatkevyč, Canadian Institute of Ukrainian Studies University of Alberta
32 The Secret Speech of Lirnyky and Kobzari Encoding a Life Style Andrij Hornjatkevyč, Canadian Institute of Ukrainian Studies University of Alberta In Ukraine, minstrels have been part of the folk tradition for centuries. There were two types of minstrels: kobzari who played a stringed musical instrument called the kobza, later to develop into the bandura, and lirnyky, who played the crank-driven hurdy-gurdy called the lira. These minstrels were traveling musicians – and much more besides. They were major sources of historical and religious information and, interestingly, most of them were blind. This infirmity made them dependent upon others for their livelihood, but they were not beggars. On the contrary, they were well-respected by the general populace. As with other professional groups, they belonged to guilds and new members, young children, went through an extensive apprenticeship period. Minstrels also spoke using a secret language called lebiis’ka mova, henceforth the Lebian language (argot) or Lebian. It should be pointed out immediately that this was not a full-fledged language with a distinct phonetic, lexical, morphological, and syntactic system. On the contrary, its underlying structure was that of contemporary Ukrainian, but crucial standard Ukrainian lexemes – nouns, pronouns, adjectives, numerals and verbs – were replaced by others. To an outsider, i.e., one not initiated into the guild, who might chance to hear a conversation in this argot, it might sound like Ukrainian, but, except for such ancillary parts of speech such as conjunctions, prepositions, interjections and particles – words that carry only relational information – it would be entirely unintelligible. This was reinforced by the fact that Lebian lexemes would be inflected – declined or conjugated – exactly as analogous Ukrainian words would be. -
Disability and Music
th nd 19 November to 22 December UKDHM 2018 will focus on Disability and Music. We want to explore the links between the experience of disablement in a world where the barriers faced by people with impairments can be overwhelming. Yet the creative impulse, urge for self expression and the need to connect to our fellow human beings often ‘trumps’ the oppression we as disabled people have faced, do face and will face in the future. Each culture and sub-culture creates identity and defines itself by its music. ‘Music is the language of the soul. To express ourselves we have to be vibrating, radiating human beings!’ Alasdair Fraser. Born in Salford in 1952, polio survivor Alan Holdsworth goes by the stage name ‘Johnny Crescendo’. His music addresses civil rights, disability pride and social injustices, making him a crucial voice of the movement and one of the best-loved performers on the disability arts circuit. In 1990 and 1992, Alan co- organised Block Telethon, a high-profile media and community campaign which culminated in the demise of the televised fundraiser. His albums included Easy Money, Pride and Not Dead Yet, all of which celebrate disabled identity and critique disabling barriers and attitudes. He is best known for his song Choices and Rights, which became the anthem for the disabled people’s movement in Britain in the late 1980s and includes the powerful lyrics: Choices and Right That’s what we gotta fight for Choices and rights in our lives I don’t want your benefit I want dignity from where I sit I want choices and rights in our lives I don’t want you to speak for me I got my own autonomy I want choices and rights in our lives https://youtu.be/yU8344cQy5g?t=14 The polio virus attacked the nerves. -
An Ethnomusicology of Disability Alex Lubet, Ph.D. School of Music University of Minnesota
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarSpace at University of Hawai'i at Manoa Tunes of Impairment: An Ethnomusicology of Disability Alex Lubet, Ph.D. School of Music University of Minnesota Abstract: "Tunes of Impairment: An Ethnomusicology of Disability" contemplates the theory and methodology of disability studies in music, a sub-field currently in only its earliest phase of development. The article employs as its test case the field of Western art ("classical") music and examines the reasons for the near total exclusion from training and participation in music performance and composition by people with disabilities. Among the issues around which the case is built are left-handedness as a disability; gender construction in classical music and its interface with disability; canon formation, the classical notion of artistic perfection and its analogy to the flawless (unimpaired) body; and technological and organizational accommodations in music-making present and future. Key words: music; disability; classical Introduction: The Social Model of Disability Current scholarship in Disability Studies (DS) and disability rights activism both subscribe to the social modeli that defines disability as a construct correlated to biological impairment in a manner analogous to the relationship between gender and sex in feminist theory.ii Disability is thus a largely oppressive practice that cultures visit upon persons with, or regarded as having, functional impairments. While social constructs of femininity may not always be oppressive, the inherent negative implications of 'dis-ability' automatically imply oppression or at least dis-advantage. Like constructions of gender, categorizations of disability are fluid; variable between and within cultures. -
Buddy Moss Talks to Valerie Wilmer
Published Melody Maker, July 15, 1972 p.40, less a VW photo: Buddy Moss talks to Valerie Wilmer "BUDDY MOSS? Oh he's really a mean guy—you ought to stay clear of him!" That was one of several warnings I received on making it known that l intended to visit the Atlanta bluesman who had shared one of Josh White's first record dates. I'd been told Moss was moody and mean and knew he'd served a jail term stiff enough to put paid to his successful recording career back in the mid-thirties, so naturally I approached his house with some trepidation. Moss had rather barked down the telephone when I'd mumbled something about an interview and the man who thrust his head round the door looked like the voice sounded. Sturdy and well-muscled for a man of 58, his broad shoulders and close-cropped, pugnacious head represented much more than the arrogance that stems from insecurity. Moss is tough because he's had a lot to contend with in his life; he's also a man of great personal charm —something I not only experienced myself but observed from the warmth with which he was greeted later that afternoon. They'd also told me Buddy Moss was "difficult." What people who'd tried to exploit his talent did not —or did— realise is that Buddy Moss is not about to get talked over by anyone. "People been coming round here asking me to record things," said the guitarist. "Well, you have to give something every once in a while— but to a worthy cause. -
“Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader
“Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album. -
Doc Watson, Blue Ridge Mountain Boy by Hannah Davis STUDY GUIDE
Doc Watson, Blue Ridge Mountain Boy By Hannah Davis STUDY GUIDE 1. What did Watson play first? A. banjo B. fiddle C. guitar D. harmonica 2. Which “crude instrument” did Watson’s father make for him? A. banjo B. fiddle C. guitar D. harmonica 3. Who suggested the nickname “Doc”? A. son, Merle B. wife, Rosa Lee C. radio announcer D. audience member 4. What caused Doc’s blindness? A. He was born blind. B. An infection caused his blindness. C. An accident early in life left him blind. D. He was born with a degenerative condition that led to blindness. 5. What town is located near Watson’s home community? A. Boone B. Charlotte C. Hickory D. Linville 6. What is Doc’s favorite instrument? A. banjo B. fiddle C. guitar D. harmonica 7. Which music did Watson hear first? A. His wife’s singing B. Carter family’s singing C. His mother’s banjo playing D. His mother’s hymn singing 8. What tragedy almost ended Watson’s career? A. Loss of sight B. Advancing age C. Death of his son D. Death of his mother 9. Which achievement best demonstrates Watson’s on‐going support for his community? A. Merlefest B. Grammy awards C. National Medal of the Arts D. Honorary degrees from Wilkes Community College and Appalachian State University Words to know: Match words with the meanings that apply to the profile. ___1. crude A. conceal or cover ___2. mask B. literature ___3. genre C. a person or object of devotion ___4. icon D. rough E. -
Bradley N. Litwin Programs for Younger Audiences
Bradley N. Litwin Programs for Younger Audiences photo by Jody Kolodzey Ragtime Jazz Stride Blues A Program & Residency Guide For: Presenters, Teachers, Administrators, Parents & Children Bradley N. Litwin Programs for Younger Audiences Ragtime Jazz Stride Blues Information for Presenters, Teachers, Administrators, Parents & Children Table of Contents: 3. Why is this music important? 3. Curriculum Connections 6. The Historical Context 8. Sample Topics & Questions for Classroom Workshops 9. Activity Suggestions 10. Audience Expectations 11. About Bradley N. Litwin 12. What Kids Would Like To Know About Bradley N. Litwin 13. Repertoire Highlights 14. Online Music Listings 15. Historical Writers & Performers 16. Bibliography 16. Online Resource Links 17. Available Funding This document is available as a PDF download at www.jujubee.com/edguide 2 Bradley N. Litwin Programs for Younger Audiences This guide is intended for educational presenters, teachers, administrators, parents and children who will host or attend my presentations. If you have any questions about this material, please feel free to give me a call or email: 215.224.9534 [email protected]. Q. Why are Blues, Ragtime and Jazz music important? In short, they are a common thread that binds much of our shared culture. The unlikely story of these primal art forms is a wide-open window through which we can explore our social heritage, community and historical connections, and celebrate the African- American contribution to mainstream culture. “Roots” music is the basis of much of American popular music, including Blues, Jazz, Rock & Roll, Country, Western, Gospel, Soul, Disco, Rap, Hip Hop and R&B. All these musical styles rely on the melodic, harmonic, and rhythmic components of earlier musical genres. -
Deploying Musical Narratives of Internal Others in Soviet and Post-Soviet Ukraine
“THEY BELIEVE THE DAWN WILL COME”: DEPLOYING MUSICAL NARRATIVES OF INTERNAL OTHERS IN SOVIET AND POST-SOVIET UKRAINE Melissa Bialecki A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2017 Committee: Katherine Meizel, Advisor Sidra Lawrence © 2017 Melissa Bialecki All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor This thesis explores the roles of internal others in constructing a Soviet and post-Soviet Ukrainian national identity. I begin with an analysis of the kobzars—a group of blind, itinerant minstrels who performed across Ukraine in the late 19th and early 20th centuries, before they disappeared entirely during Stalin’s Great Terror in the 1930s. First, I explore the ways in which the Ukrainian bandura, an asymmetrical lute instrument, has become a site for documenting epistemologies of blind musicians in Ukraine. I then examine how these ways of knowing blindness have been influenced by myths of blind musicians in Ukraine that seek to demystify these internal “others.” Furthermore, I discuss how these myths continue to influence 21st century depictions of blind minstrels through an analysis of the 2014 Ukrainian film, The Guide. Finally, I turn my focus to the Eurovision Song Contest in order to examine how narratives of internal others are deployed in order to negotiate Ukraine’s position in 21st century Europe and in the context of the Russian-Ukrainian conflict. I then reflect on the ways in which deploying these narratives of internal others does not draw these groups into the mainstream, but instead emphasizes and exploits their difference for the purpose of rejecting external hegemony in Ukraine. -
Angie Mack Reilly Grafton, WI • 262.309.4112• [email protected] Public Speaker | Writer | Musician | Composer | Marketing Professional
Angie Mack Reilly Grafton, WI • 262.309.4112• [email protected] Public Speaker | Writer | Musician | Composer | Marketing Professional Innovative Public Speaker and natural leader with a passion for the arts community and issues effecting women and the mentally ill. Proven effective transforming environments to create lasting change using the arts and creativity. Background in marketing with success linking businesses with needed resources to provide mutually positive opportunities and revenue streams. Technical Proficiencies: Social Media, Music Production, WordPress, eCommerce, Sound Equipment, Recording Equipment, PC, Mac, Microsoft Office. Topics of Expertise Creating a Culture of Innovation and Teamwork Transforming Work Environments into Creative Hubs "Old Guys I've Met": The Importance of Business Mentors in the Arts Managing Teams "Theater Style" Moving Audiences and Tips from a Theater Director Public Speaking Engagements ∙ "2007 Walk of Fame Induction Ceremony", Grafton, WI as Chairperson about blues history ∙ "Giro d' Grafton Bike Race, 2007, Grafton, WI ∙ "Wisconsin Blues Connection" and PowerPoint Presentation, Wisconsin Historical Society, 2006 ∙ "At 10" Radio Interview, National Public Radio, 2006 ∙ "Paramount History" and PowerPoint Presentation, Port Washington Kiwanas Club, 2005 ∙ "Paramount History" and PowerPoint Presentation, MATC-Mequon Campus, 2004 ∙ "Passionate about Paramount and the Blues" Children's Educational Performance, Grafton Library 2006 ∙ "Paramount Blues Festival Panel Discussion", Cedarburg -
Edited and Transcribed by STEFAN GROSSMAN
AUTHENTIC GUITAR TAB EDITION EDITED AND TRANSCRIBED BY STEFAN GROSSMAN Contents Page Audio Track Introduction ...................................................................2 Explanation of the TAB/Music System ...........................4 Scrapper Blackwell .......................................................6 Blue Day Blues...................................................................... 7 ................ 1 Kokomo Blues .........................................................................12 ...............2 Blind Blake ................................................................... 18 Georgia Bound ........................................................................19 ............... 3 Big Bill Broonzy .......................................................... 25 Big Bill Blues ...................................................................... 26 ...............4 Mississippi River Blues .........................................................30 ............... 5 Mr. Conductor Man ................................................................32 ............... 6 Saturday Night Rub ...............................................................36 ............... 7 Stove Pipe Stomp ....................................................................39 ............... 8 Worryiní You Off My Mind .................................................... 42 ............... 9 Rev. Gary Davis ............................................................. 45 Cincinnati Flow Rag ............................................................ -
Music and Blindness
13 An Auditory World: Music and Blindness hen I was growing up in London in the 1930s, I especially enjoyed the visits of Enrico, the piano tuner, who would come every few W months to tune our pianos. We had an upright and a grand, and since everyone in the family played, they were always getting out of tune. Once when Enrico was ill, a substitute tuner came—a tuner who, to my amazement, got around without a white stick and could apparently see normally. Up to that point, I had assumed that, like Enrico, all piano tuners were blind. I thought of this years later in regard to my friend Jerome Bruner, for in addition to his many other gifts, he is immensely sensitive to music and possesses extraordinary powers of musical memory and imagery. When I asked him about these, he said that he did not come from a musical family but that he was born with congenital cataracts, not operated on until he was two. He was functionally blind in his first two years, seeing only light and shadow and some movement before his cataracts were removed—and this, he thought, forced him to focus on sounds of all sorts, especially voices and music. This special sensitivity to the auditory has stayed with him all his life. It was similar with Martin, my musical savant patient, who wore thick pebble glasses like Jerry Bruner; Martin had been born with very severe farsightedness, more than twenty diopters, which was not diagnosed and corrected until he was almost three. -
The Milwaukee Repertory Theater Inside This Guide
The Audience You can sit there and have a universal experi- The Milwaukee ence, of fear, of anger, of tears, of love, and I discovered that it’s the audience, really, that is Repertory Theater doing the acting. Marlon Brando Department of Education Theater is a collaborative art form. The suc- cess of a production relies upon every member Jenny Kostreva of the ensemble performing their role expertly, Education Director from the cast and crew to the administrative [email protected] staff to the audience themselves. Come pre- (414) 290-5370 pared to make your contribution as a member of the audience. You have an active role to Andy North play, and the performers are relying on you to be respectful and attentive. Months of prepa- Education Coordinator ration, weeks of rehearsal and hours upon [email protected] hours of effort have gone towards providing (414) 290-5393 the best possible performance for you. Your A study guide for students and educators participation is what makes this process worthwhile. Inside this guide This study guide was researched and designed by the Education Department at Milwaukee Repertory Synopsis / Theater, and is intended to prepare you for your Visiting The Rep … 2 About the Author visit. It contains information that will deepen your Milwaukee Repertory Theater is housed in the Milwaukee Center at the corner of understanding of, and appreciation for, the produc- Wells and Water Streets, downtown. Our building was formerly the home of the The Blues 3 tion. We’ve also included questions and activities Electric Railway & Light Company. This name is still carved on the wall outside.