Sugarloaf Mountain Program
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Old Time Banjo
|--Compilations | |--Banjer Days | | |--01 Rippling Waters | | |--02 Johnny Don't Get Drunk | | |--03 Hand Me down My Old Suitcase | | |--04 Moonshiner | | |--05 Pass Around the Bottle | | |--06 Florida Blues | | |--07 Cuckoo | | |--08 Dixie Darling | | |--09 I Need a Prayer of Those I Love | | |--10 Waiting for the Robert E Lee | | |--11 Dead March | | |--12 Shady Grove | | |--13 Stay Out of Town | | |--14 I've Been Here a Long Long Time | | |--15 Rolling in My Sweet Baby's Arms | | |--16 Walking in the Parlour | | |--17 Rye Whiskey | | |--18 Little Stream of Whiskey (the dying Hobo) | | |--19 Old Joe Clark | | |--20 Sourwood Mountain | | |--21 Bonnie Blue Eyes | | |--22 Bonnie Prince Charlie | | |--23 Snake Chapman's Tune | | |--24 Rock Andy | | |--25 I'll go Home to My Honey | | `--banjer days | |--Banjo Babes | | |--Banjo Babes 1 | | | |--01 Little Orchid | | | |--02 When I Go To West Virginia | | | |--03 Precious Days | | | |--04 Georgia Buck | | | |--05 Boatman | | | |--06 Rappin Shady Grove | | | |--07 See That My Grave Is Kept Clean | | | |--08 Willie Moore | | | |--09 Greasy Coat | | | |--10 I Love My Honey | | | |--11 High On A Mountain | | | |--12 Maggie May | | | `--13 Banjo Jokes Over Pickin Chicken | | |--Banjo Babes 2 | | | |--01 Hammer Down Girlfriend | | | |--02 Goin' 'Round This World | | | |--03 Down to the Door:Lost Girl | | | |--04 Time to Swim | | | |--05 Chilly Winds | | | |--06 My Drug | | | |--07 Ill Get It Myself | | | |--08 Birdie on the Wire | | | |--09 Trouble on My Mind | | | |--10 Memories of Rain | | | |--12 -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
Of ABBA 1 ABBA 1
Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7. -
Track Artist Album Format Ref # Titirangi Folk Music Club
Titirangi Folk Music Club - Library Tracks List Track Artist Album Format Ref # 12 Bar Blues Bron Ault-Connell Bron Ault-Connell CD B-CD00126 12 Gates Bruce Hall Sounds Of Titirangi 1982 - 1995 CD V-CD00031 The 12th Day of July Various Artists Loyalist Prisoners Aid - UDA Vinyl LP V-VB00090 1-800-799-7233 [Live] Saffire - the Uppity Blues Women Live & Uppity CD S-CD00074 1891 Bushwackers Faces in the Street Vinyl LP B-VN00057 1913 Massacre Ramblin' Jack Elliot The Essential Ramblin' Jack Elliot Vinyl LP R-VA00014 1913 Massacre Ramblin' Jack Elliot The Greatest Songs of Woodie Guthrie Vinyl LP X W-VA00018 The 23rd of June Danny Spooner & Gordon McIntyre Revived & Relieved! Vinyl LP D-VN00020 The 23rd Of June the Clancy Brothers & Tommy Makem Hearty And Hellish Vinyl LP C-VB00020 3 Morris Tunes - Wheatley Processional / Twenty-ninth of May George Deacon & Marion Ross Sweet William's Ghost Vinyl LP G-VB00033 3/4 and 6/8 Time Pete Seeger How to play the Old Time Banjo Vinyl LP P-VA00009 30 Years Ago Various Artists & Lindsey Baker Hamilton Acoustic Music Club CD H-CD00067 35 Below Lorina Harding Lucky Damn Woman CD L-CD00004 4th July James RAy James RAy - Live At TFMC - October 2003 CD - TFMC J-CN00197 500 Miles Peter Paul & Mary In Concert Vinyl LP X P-VA00145 500 Miles Peter Paul & Mary Best of Peter, Paul & Mary: Ten Years Together Vinyl LP P-VA00101 500 Miles The Kingston Trio Greatest Hits Vinyl LP K-VA00124 70 Miles Pete Seeger God Bless the Grass Vinyl LP S-VA00042 900 Miles Cisco Houston The Greatest Songs of Woodie Guthrie Vinyl LP -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
A Prima Vista
A PRIMA VISTA a survey of reprints and of recent publications 2012/1 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: + 31 (0)20 679 65 75 CDs: + 31 (0)20 675 16 53 / fax: + 31 (0)20 664 67 59 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2012/1 PAGE HEADING 03 PIANO 2-HANDS 11 PIANO 4-HANDS, 2 PIANOS, HARPSICHORD, ORGAN 12 KEYBOARD 13 ACCORDION 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 13 VIOLIN SOLO, CELLO SOLO, DOUBLE BASS SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 14 VIOLIN with accompaniment, VIOLIN PLAY ALONG 15 VIOLA with accompaniment, CELLO with accompaniment, VIOLA DA GAMBA with accompaniment 15 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 18 FLUTE SOLO, CLARINET SOLO, SAXOPHONE SOLO 19 TROMBONE SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 19 PICCOLO with accompaniment, FLUTE with accompaniment 20 FLUTE PLAY ALONG 22 OBOE with accompaniment, CLARINET with accompaniment, CLARINET PLAY ALONG 23 SAXOPHONE with accompaniment 24 SAXOPHONE PLAY ALONG, 25 TRUMPET with accompaniment, TRUMPET PLAY ALONG 27 HORN with accompaniment, HORN PLAY ALONG, TROMBONE with accompaniment, TROMBONE PLAY ALONG 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 29 2 AND MORE WOODWIND INSTRUMENTS, 2 AND MORE BRASS INSTRUMENTS 30 COMBINATIONS OF WOODWIND AND BRASS INSTRUMENTS 30 COMBINATIONS OF WIND AND STRING INSTRUMENTS 31 RECORDER 32 GUITAR 35 UKULELE, MANDOLIN 36 BANJO 37 HARP, PERCUSSION 38 MISCELLANEOUS, 38 SOLO VOICE(S) AND/OR CHOIR WITH INSTRUMENTAL ACCOMPANIMENT 45 SOLO VOICE(S) AND/OR CHOIR WITH ORCHESTRAL ACCOMPANIMENT, UNACCOMPANIED CHOIR 47 OPERA, OPERETTA, MUSICAL, ORATORIA, MASS (SCORES: POCKET-, STUDY-, FULL-, VOCAL-) 47 ORCHESTRA WITH AND WITHOUT INSTRUMENTAL SOLOISTS 48 BOOKS OF MUSICAL INTEREST 51 CDs compilation by Jan A. -
11. »Sometimes I Live in the Country, Sometimes I Live in Town« Von Folklore Zu Folk
11. »Sometimes I Live in the Country, Sometimes I Live in Town« Von Folklore zu Folk Katrin Horn »Sometimes I live in the country / Sometimes I live in town« ist eine Text zeile aus dem Song »Goodnight, Irene«, der wie kaum ein anderer mit der Geschichte und Entwicklung der US-amerikanischen Folk-Tradition verbunden ist. 1933 wurde »Goodnight, Irene« von Hudson »Huddie« William Ledbetter (1989-1949), besser bekannt als Lead Belly,1 gesungen und vom Musikforscher und -Sammler Alan Lomax (1915-2002) aufge zeichnet, als Lomax in ländlichen Gefängnissen mit hauptsächlich afro amerikanischen Insassen nach nicht durch kommerzielle Musik verun reinigtem Stimmen und Liedern suchte. Als weitverbreitetes Volkslied ohne bekannten Autor, jedoch Stil prägend vorgetragen von einem Blu esmusiker und aufgezeichnet von einem Forscher auf der Suche nach den Wurzeln US-amerikanischer Musik, vereinigt »Goodnight, Irene« viele der charakteristischen Merkmale von Folk Music2 in sich: anonyme Au torschaft mit Wurzeln in angelsächsischer Tradition, Einflüsse von Ins- trumentierungs- und Aufführungspraktiken aus unterschiedlichen Kul 1 Häufig auch »Leadbelly«. Die hier verwendete Schreibweise orientiert sich an der von Lead Belly selbst bevorzugten Schreibweise sowie an den Veröffentlichungen der Folkways-Reihe des Smithsonian Institute. 2 Im Englischen bezeichnet »folk« sowohl die Volksliedtradition als auch moder ne, neu komponierte und kommerziell vertriebene Musik, die auf diese zurückgeht und zumeist in der Singer-Songwriter-Tradition von Bob Dylan, Joni Mitchell und anderen steht. Um in der deutschen Übersetzung klarer zu unterscheiden, wird mit Folk im Folgenden nur letzteres bezeichnet, während die eigentliche »Volkstra dition« als Folklore bezeichnet wird. 272 Katrin Horn turkreisen und erstmalige Verschriftlichung und Aufzeichnung in einem eher ethnografischen als kommerziellen Kontext. -
Electronic Master Index
MASTER INDEX GRADES Pre-K–8 SERIES AUTHORS Judy Bond Michael Jothen René Boyer Chris Judah-Lauder Margaret Campbelle-Holman Carol King Emily Crocker Vincent P. Lawrence Marilyn C. Davidson Ellen McCullough-Brabson Robert de Frece Janet McMillion Virginia Ebinger Nancy L.T. Miller Mary Goetze Ivy Rawlins Betsy M. Henderson Susan Snyder John Jacobson Gilberto D. Soto Kodály Contributing Consultant Sr. Lorna Zemke INTRODUCTION The Master Index of Spotlight on Music provides convenient access to music, art, literature, themes, and activities from Grades Pre-K–8. Using the Index, you will be able to locate materials to suit all of your students’ needs, interests, and teaching requirements. The Master Index allows you to select songs, listening selections, art, literature, and activities: • by subject • by theme • by concept or skill • by specific pitch and rhythm patterns • for curriculum integration • for programs and assemblies • for multicultural instruction The Index will assist you in locating materials from across the grade levels to reinforce and enrich learning. A Published by Macmillan/McGraw-Hill, of McGraw-Hill Education, a division of The McGraw-Hill Companies, Inc., Two Penn Plaza, New York, New York 10121 Copyright © by The McGraw-Hill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form for non-profit educational use with SPOTLIGHT ON MUSIC, provided such reproductions bear copyright notice, but may not be reproduced in any form for any other purpose without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, network storage or transmission, or broadcast for distance learning. -
Liner Notes, Lomax Collection
Alan Lomax spent his life in transit, documenting folk music from across the United States, Great Britain, Spain, Italy, North Africa, the Soviet Union, and the Eastern Caribbean. Featured here are sixteen selections from Lomax’s U.S and international field- recording collections — including four previously unreleased songs and one previously unreleased version — from his collections at the Library of Congress’ American Folklife Center, recorded between 1947 and 1982. Introduced by a paean to America’s greatest folk hero, John Henry, and concluding with one of the country’s most enduring lullabies, the compilation combines ballads, blues, dance tunes, and sacred songs from around the U.S. with a Gaelic ode, Galician alborada (dawn song), Genoan chorale, Grenadan Shango ritual, Trinidadian calypso, and the ashug bardic music of Azerbaijan. Here is a view of the Lomax collection in all of its breadth, joy, and dignity. In 2004 the American Folklife Center at the Library of Congress acquired the original recordings and photographs, library, manuscripts, and research materials that had been assembled by Alan Lomax over the course of six decades, uniting them with the recordings made by Alan and his father, John A. Lomax, for the Library from 1933 to 1942. Fred McDowell Como, Mississippi September 1959 1. John Henry “Bama” (W.D. Stewart), “22” (Benny Will Richardson), and prisoners Recorded at Parchman Farm (Mississippi State Penitentiary). Late November/early December, 1947. “Bama” was one of the most prolific prison singers, with the exception of Lead Belly, that Alan Lomax ever encountered. He recorded not only work songs and field hollers, but also unaccompanied blues ballads, tall-tales, and toasts. -
Smithsonian Folklife Festival Records: 1972 Festival of American Folklife
Smithsonian Folklife Festival records: 1972 Festival of American Folklife CFCH Staff 2017 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical note.................................................................................................................. 2 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 2 Introduction....................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Program Books, Festival Publications, and Ephemera, 1972................... 5 Series 2: Maryland................................................................................................... 6 Series 3: Southwest Indians.................................................................................. -
SUGARLOAF MOUNTAIN an Appalachian Gathering
SUGARLOAF MOUNTAIN An Appalachian Gathering ON PERIOD INSTRUMENTS Prologue q THE MOUNTAINS OF RHÙM • Ross Hauck & Amanda Powell, vocals | arr. & adapted by J. Sorrell from the trad. Scottish, Cuillens of Rhùm [2:37] Crossing To The New World w FAREWELL TO IRELAND - HIGHLANDER’S FAREWELL • Susanna Perry Gilmore, trad. Irish & Appalachian reels, arr. J. Sorrell [3:42] e WE’LL RANT AND WE’LL ROAR (Farewell to the Isles) • Ross Hauck & Amanda Powell, vocals | trad. British & Canadian sea shanty, arr. J. Sorrell [3:17] Dark Mountain Home r THE CRUEL SISTER (Child Ballad #10) • Amanda Powell, vocals | trad. English/Appalachian ballad, arr. J. Sorrell [6:54] t SE FATH MO BUART HA (The Cause of All My Sorrow) - THE BUTTERFLY - BARNEY BRALLAGHAN • Kathie Stewart, trad. Irish, arr. K. Stewart [4:18] y NOTTAMUN TOWN (Roud #1044) • Brian Kay, medieval English & Appalachian ballad, arr. B. Kay [4:34] u BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR (Roud #3103) • Ross Hauck, vocals | trad. Scots/Appalachian, arr. R. Schiffer & J. Sorrell [4:35] i I WONDER AS I WANDER - THE GRAVEL WALK - OVER THE ISLES TO AMERICA • Jeannette Sorrell, John Jacob Niles/trad. Appalachian/trad. Scottish, arr. J. Sorrell [4:19] Cornshuck Party o THE FOX WENT OUT ON A CHILLY NIGHT • Amanda Powell, vocals | trad. British/Appalachian ballad, arr. J. Sorrell [3:06] 1) OH SUSANNA! • Brian Kay & Ross Hauck, vocals; Susanna Perry Gilmore, minstrel song by Stephen Foster (1848), arr. J. Sorrell [5:02] PRETTY PEG - FAR FROM HOME • Susanna Perry Gilmore, / with René Schiffer, trad. Irish Reels, variations by R. -
For the Degree of MASTER of ARTS by Jerry F. Hickman, B. A. Denton, Texas August, 1969
3? /V THE LYRIC FOLKLORE OF THE AMERICAN YOUTH CULTURE OF THE SIXTIES THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Jerry F. Hickman, B. A. Denton, Texas August, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . * . iv Chapter I. INTRODUCTION . * . * 1 II. ROCK 'N' ROLL: ORIGIN OF A FOLKLORE III. TOPICAL SONG MOVEMENT: EMERGENCE OF THE SONGWRITER-PERFORMER . .9 . 15 IV. FOLK ROCK: FOLKLORE OF THE YOUTH CULTURE . * . 29 V. CONCLUSION . * . 62 BIBLIOGRAPHY . * . 69 ijj LIST OF ILLUSTRATIONS Figure Page 1. Comparison of "Yakety Yak" and "Subterranean Homesick Blues" . 12 iv CHAPTER I INTRODUCTION Out of the rock In' roll of the fifties and the topical and freedom-song movements of the early sixties evolved the cultural literature of today's late adolescent-- folk rock. As the folk-like literature of America's youth culture, this poetic-sociological-musical genre reflects the values, anxieties, immediate concerns, life-style, and idiom of this group. The performers are young songwriters who act as spokesmen and alter egos for the cultural group of which they are a part. The leading songwriter-performer is Bob Dylan. He formally united rock music and protest lyrics for a generation that had grown up with rock Int roll and had also witnessed a strong politically-oriented folk- song revival. To understand the development of folk rock as folklore, one must have a knowledge of certain social and economic aspects of American youth culture, as well as some understanding of the musical and environmental heritage of the group.