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BBC Music Booklet Celebrating 80 Years of Music.Pdf
Celebrating Years of Music A Serenade to Music “We are the music-makers And we are the dreamers of dreams…” (Arthur William Edgar O’Shaughnessy, Ode) The story of BBC Northern Ireland’s involvement in nurturing and broadcasting local musical talent is still in the making. This exhibition provides a revealing glimpse of work in progress at the BBC’s Community Archive in documenting the programmes and personalities who have brought music in all its different forms to life, and looks at how today’s broadcasters are responding to the musical styles and opportunities of a new century. It celebrates BBC NI’s role in supporting musical diversity and creative excellence and reflects changes in fashion, technology and society across 80 years of local broadcasting. “ Let us celebrate the way we were and the way we live now. Much has been achieved since 2BE’s first faltering (and scarcely heard) musical broadcast in 1924. Innovation has Let us celebrate the ways we will be... been a defining feature of every decade from early radio concerts in regional towns and country halls to the pioneering work of Sean O’Boyle in recording traditional music and Sam Hanna Bell’s 1950s programmes of Belfast’s Let us count the ways to celebrate. street songs.The broadcasts of the BBC Wireless Orchestra and its successors find their contemporary echo in the world-class performances of the Ulster Orchestra and BBC NI’s radio and television schedules continue to Let us celebrate.” reverberate to the diverse sounds of local jazz, traditional and country music, religious services, brass bands, choirs, (Roger McGough - Poems of Celebration) contemporary rock, pop and dance music. -
Highlands Songbook Contents
Highlands Songbook Contents Title Page A Jug of Punch 3 A Scottish Soldier 4 Black Velvet Band 5 Danny Boy 6 Maid of Fife-E-O 7 Mary Mac 8 Men of Harlech 9 Molly Malone (Cockles and Mussels) 10 Scotland the Brave 11 The Gypsy Rover 12 The Unicorn Song 13 The Wild Colonial Boy 14 The Wild Rover 15 When Irish Eyes Are Smiling 16 Whiskey in the Jar 17 2 A Jug of Punch (Paddy Clancy / Tom Clancy / Liam Clancy / Tommy Makem) G D7 G One pleasant evening in the month of June When he's snug outside of a jug of punch D G G As I was sitting with my glass and spoon And if I get drunk, well, the money's me own C D G A small bird sat on an ivy bunch And if they don't like me they can leave me alone D7 G C And the song he sang was "The Jug of Punch" I'll tune me fiddle and I'll rosin me bow G D D7 G Too ra loo ra loo, too ra loo ra lay, And I'll be welcome wherever I go D7 G G D Too ra loo ra loo, too ra loo ra lay Too ra loo ra loo, too ra loo ra lay, C D7 G A small bird sat on an ivy bunch Too ra loo ra loo, too ra loo ra lay D7 G C And the song he sang was "The Jug of Punch" I'll tune me fiddle and I'll rosin me bow D7 G G And I'll be welcome wherever I go What more diversion can a man desire? D G G Than to sit him down by snug turf fire And when I'm dead and in my grave C D G Upon his knee a pretty wench No costly tombstone will I have D7 G G C And on the table a jug of punch Just lay me down in my native peat G D D7 G Too ra loo ra loo, too ra loo ra lay, With a jug of punch at my head and feet D7 G G D Too ra loo ra loo, too ra loo ra lay Too -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time. -
Donegal Heritage Collection
Irish Life and Lore Series Donegal Heritage Collection IRISH LIFE AND LORE SERIES DONEGAL HERITAGE COLLECTION _____________ CATALOGUE OF 64 RECORDINGS www.irishlifeandlore.com Page: 1 / 34 © 2010 Maurice O'Keeffe Irish Life and Lore Series Donegal Heritage Collection Irish Life and Lore Series Maurice and Jane O’Keeffe, Ballyroe, Tralee, County Kerry E-mail: [email protected] Website: www.irishlifeandlore.com Telephone: + 353 (66) 7121991/ + 353 87 2998167 Recordings compiled by : Maurice O’Keeffe Catalogue Editor : Jane O’Keeffe Secretarial work by : NB Secretarial Services, Tralee Recordings mastered by : Media Duplication Privately published by : Maurice and Jane O’Keeffe, Tralee The Donegal Heritage ‘Life & Lore’ Collection was commissioned by the County Donegal Heritage Office, Donegal County Council, the County Donegal Heritage Forum and The Heritage Council under the County Donegal Heritage Plan (2007- 2011). An Action of the County Donegal Heritage Plan (2007-2011) Page: 2 / 34 © 2010 Maurice O'Keeffe Irish Life and Lore Series Donegal Heritage Collection NAME: MATTHEW GRAHAM, BORN 1939, ST. JOHNSTON, ARDAGH (Part 1) Title: Irish Life and Lore Donegal Heritage Collection CD 1 Subject: Changing landscapes Recorded by: Maurice O’Keeffe Date: 2010 Time: 56:08 Description: Matthew Graham’s grandfather originally arrived in St. Johnston in 1888 and he farmed fifty acres there. Matthew’s father also farmed there and Matthew discusses the arrival of the first tractor at the farm in 1957, butter-making and the arrival of electricity, the growing of flax for thatching and also wheat straw, rye straw and rushes. He recalls the McGlincheys of the Green who were flax millers, and some of the other milling families. -
13Thlaochra Gael
Cumann Lúthchleas Gael Coiste Chontae Thiobrad Arann Laochra Gael 13th PRESENTATIONS by Iar-Uachtarán Liam Ó Néill at The Dome, Semple Stadium November 15th, 2015 ag tosnú 16.30pm 1 Cumann na Sean Ghael - Coiste Chontae Thiobrad Arann INAUGURAL MEETING Thurles, April 23th, 2003 he inaugural meeting of Cumann na Sean Ghael, Coiste Chontae Thiobrad Arann, was held in Hayes’s Hotel, Thurles on April 23, 2003. The attendance included John Moloney, Noel Morris, John Costigan, Pat Moroney, Seamus J., King and Michael TO’Meara. Seamus McCarthy was unable to be present. At the outset John Moloney was unanimously appointed chairman amd Michael O’Meara secretary. The chairman outlined the aims of the group, which were chiefly to honour annually persons over 70 years of age, who had given significant service to the G.A.A. in whatever capacity - player, official, groundsman, jersey carrier, tea maker, referee, umpire, etc. A sample of a framed certificate, which was presented annually in Dublin, was shown by the chairman to the meeting and the secretary undertook to get quotations for same. It was agreed that approximately 40 annual presentations would be made, i.e. an average of 10 per division. The consensus was that the general public should be asked to nominate suitable persons and justify why they were considered worthy. It was agreed that the presentations would be made in Brú Ború, Cashel on November 16th or 23rd and that the evening’s programme would consist of a chat, light refreshments and entertainment before the presentations. It was also agreed that the wives of the recipients be invited to the presentations. -
BRT Past Schedule 2011
Join Our Mailing List! 2011 Past Schedule current schedule 2015 past schedule 2014 past schedule 2013 past schedule 2012 past schedule 2010 past schedule 2009 past schedule 2008 past schedule JANUARY THANK YOU! Despite the still-challenging economy, Blackstone River Theatre saw more than 6,100 audience members attend nearly 100 concerts, dances, classes and private functions in 2010! September marked the 10-year anniversary of the reopening of Blackstone River Theatre after more than four years of volunteer renovation efforts from July, 1996, to September, 2000. Since reopening, BRT has now presented more than 1,050 events in front of more than 67,000 audience members! Look for details about another six-week round of fiddle classes for beginner, continuing beginner/intermediate, advanced intermediate and advanced students with Cathy Clasper-Torch beginning Jan. 25 and Jan. 26. Look for details about six-week classes in beginner mountain dulcimer and clogging with Aubrey Atwater starting Jan. 13. Look for details about six-week classes in beginner mandolin and also playing tunes on mandolin with Ben Pearce starting Jan. 24. There will be an exhibit called "Through the Lens: An Exploration in Digital Photography" by Kristin Elliott-Stebenne and Denise Gregoire in BRT's Art Gallery January 14 through Feb. 19. There will be an exhibit opening Saturday, Jan. 15 from 6-7:30 p.m. NOTE: If a show at BRT has an advance price & a day-of-show price it means: If you pre-pay OR call in your reservation any time before the show date, you get the advance price. -
Popular Music Stuart Bailie a Troubles Archive Essay
popular music A Troubles Archive Essay Stuart Bailie Cover Image: Victor Sloan - Market Street, Derry From the collection of the Arts Council of Northern Ireland About the Author Stuart Bailie was on the staff of the NME (New Musical Express) from 1988 to 1996, rising to Assistant Editor in his last three years there. Since then, he has worked as a freelance journalist for Mojo, Uncut, Q, The Times, The Sunday Times and Hot Press. He has written sleevenotes for U2 and wrote the authorised story of Thin Lizzy, The Ballad Of The Thin Man in 1997. He has been presenting a BBC Radio Ulster show each Friday evening since 1999. He has been Associate Producer of several BBC TV music programmes, including the story of Ulster rock and pop: ‘So Hard To Beat’ in 2007. He has also been the scriptwriter / researcher for a series of BBC Radio 2 documentaries on U2, Thin Lizzy and Elvis Costello. Stuart is now CEO of Oh Yeah, a dedicated music centre in Belfast. Popular Music In September 1968 Van Morrison was in NewYork, recording a series of songs about life back in Belfast. This was his Astral Weeks album, one of his most important works. It was also a vivid snapshot of Northern Ireland just before the climate changed dramatically with the outbreak of the Troubles. In Morrison’s sentimental picture, there were youthful voices, parties and high-spirits; flamboyant figures such as Madame George cruised the streets of Belfast as the post-war generation challenged social conventions. The hippy ideals were already receding in America, but Belfast had experienced a belated Summer of Love and a blossoming social life. -
November 2017
November Irish Music & 2017 Dance Association Samhain The mission of the Irish Music and Dance Association is to support and promote Irish music, dance, and other cultural traditions and to insure their continuation. Irish Music and Dance Association Annual Meeting Inside this issue: Sunday, December 3, 2017 3 pm IMDA Honors Will Kenny 4 Dubliner Pub, 2162 University Avenue, St. Paul, MN Agenda includes election of board members and officers. OepnMic Night 4 All are welcome and encouraged to attend. Decade of Dance Award 6 Give to the Max 2017 on November 16 Support the Irish Music and Dance Association with your donation to the IMDA Educational Grant Program through scheduled giving. Available November 1 -15, with daily $500 Golden Tickets awarded each day of schedule giving. This is an incentive to encourage you to give early and often! The Irish Music and Dance Association was able to fund eight stu- dents of the traditional arts of Ireland in 2017, thanks to the generosity of our community. This is the largest cohort of recipients in the history for the program! 2017 IMDA Educational Grant recipients: .Musicians and Singers Aja McCullough Beers and Becky Bollinger .Bagpiper Michael Breidenbach, St. Paul .Dancer and dance teacher Beth Pitchford, St. Paul .Fiddler Caroline Priore, Kenyon .Flautist Ava Sackaroff, St. Paul .Fiddler Mary Vanorny, Farmington .Dancer Annie Wier, Inver Grove Heights Won’t you lend a hand again this year? https://www.givemn.org/organization/Irish-Music-And-Dance-Association TUNE OF THE MONTH Our Tune of the Month editor, Amy Shaw, has been contributing to the IMDA Newsletter for twelve years. -
Fiddling with Technology:: the Effect of Media on Newfoundland Traditional Musicians
Document generated on 09/25/2021 9:58 a.m. Newfoundland Studies Fiddling with Technology: The Effect of Media on Newfoundland Traditional Musicians Evelyn Osborne Volume 22, Number 1, Spring 2007 URI: https://id.erudit.org/iderudit/nflds22_1art08 See table of contents Publisher(s) Faculty of Arts, Memorial University ISSN 0823-1737 (print) 1715-1430 (digital) Explore this journal Cite this article Osborne, E. (2007). Fiddling with Technology:: The Effect of Media on Newfoundland Traditional Musicians. Newfoundland Studies, 22(1), 188–204. All rights reserved © Memorial University, 2007 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Fiddling with Technology: The Effect of Media on Newfoundland Traditional Musicians1 EVELYN OSBORNE THE DEVELOPMENT OF SOUND technologies since the late nineteenth century has been as revolutionary for musicians as the printing press was for verbal communi- cation in the fifteenth century. By the late twentieth century, the remotest of vil- lages had access to new sounds and information from across the globe. Not unexpectedly, these processes have had a major impact on folk music traditions around the world, including those in Newfoundland and Labrador. This article will examine how media sources, such as radio, recordings, television, and printed mu- sic have transmitted new styles of music to the island and how these, in turn, have influenced the repertoire and styles of traditional fiddle players. -
Daithi Sproule Knows How to Make a Guitar Sing: His New CD Features
Daithi Sproule Knows How to Skara Brae originally formed during 1969- Make a Guitar Sing: His New CD 70 and released their self-titled debut on Features 13 of His Own Tunes the Gael-Linn label in 1971. (Shanachie reissued it stateside on LP in 1983.) The performance that the reunited quartet CEOL gave in 1997 in Donegal provided, at long last, the impetus for a 1998 CD reissue on By Earle Hitchner Gael-Linn of "Skara Brae," buttressed by two songs not on the original LP. [Published on July 9, 2008, in the IRISH ECHO newspaper, New York But in many critical discussions of City. Copyright (c) Earle Hitchner. All such groups as Skara Brae, Bowhand (with fiddler James Kelly and Offaly rights reserved. Reprinted by accordionist Paddy O'Brien), Trian (with permission of author.] fiddler Liz Carroll and accordionist Billy McComiskey), and Altan, the contributions of member Daithi Sproule tend to get short All longtime Irish traditional music shrift. Even Sproule's fine solo debut in fans have a wish list for reunions, and 1995, "A Heart Made of Glass," seemed to mine once included Planxty, the Bothy draw scant attention. Band, and Skara Brae. Also consider Trian's debut album In 2004 the original Planxty lineup in 1992. The praise heaped on its of Christy Moore, Liam O'Flynn, Andy impressive instrumental playing was Irvine, and Donal Lunny got together deserved, but suffering from a bit of critical again for a dozen concerts. neglect were Sproule's exceptional singing and guitar setting of "Captain Thompson." At Dublin's Vicar Street on May And on "Trian II" in 1995, Sproule tenderly 24, 2007, the Bothy Band reunited, except covered "The Death of Queen Jane," a for one member, singer-guitarist Micheal song he wrote the melody for and earlier O Domhnaill. -
Globalising Irish Music.Pdf
Bill Whelan, Globalising Irish Music UCDscholarcast Series 1: (Spring 2008) ________________________________ The Art of Popular Culture: From ‘The Meeting of the Waters’ to Riverdance Series Editor: P.J. Mathews © UCDscholarcast UCDscholarcast 1 Bill Whelan, Globalising Irish Music Bill Whelan Globalising Irish Music One of the duties an author, performer or composer undertakes when travelling around the world in advance or in the wake of a production is to face the media. Such has been my experience with Riverdance. Sitting in stuffed rooms in Sydney or Seattle or stretched on soft settees in say, Stockholm, I have been asked an amazing array of questions. Over the thirteen years of the life of this show I have been rendered mute by questions such as (in London): ‘how many pairs of tights does Riverdance go through in an evening?’. That one gave me some pause for thought, but not as much as the question I was asked in Tokyo when we first went there. Through an interpreter a Japanese journalist probingly inquired if I felt that the album Ó Ríada sa Gaiety was an important influence in changing the course of Irish traditional music. These kinds of questions have demonstrated to me over the years the variety of responses that people have to what was actually the same musical or theatrical experience. To progress a bit further on the theme of artistic intent versus audience response—in France I recall a press conference where a few journalists were pushing me to interpret Riverdance as an Irish Nationalistic cultural response to years of British domination.