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View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
With Explanatory Notes and a Glossary. to Which Are Prefixed Some
*WMMV» .^...JS Mil IP $tt$ VK* 1 5 So, \M> n*> • Digitized by the Internet Archive in 2011 with funding from National Library of Scotland http://www.archive.org/details/scottishhistoric01finl THE GLEN COLLECTION OF SCOTTISH MUSIC Presented by Lady Dorothea Ruggles- Brise to the National Library of Scotland, in memory of her brother, Major Lord George Stewart Murray, Black Watch, killed in action in France in 1914. 2Uh January 1927. SCOTTISH HISTORICAL AND ROMANTIC BALLADS- : SCOTTISH HISTORICAL AND ROMANTIC BALLADS, CHIEFLY ANCIENT; WITH EXPLANATORY NOTES AND A GLOSSARY. TO WHICH ARE PREFIXED SOME REMARKS ON THE EARLY STATE OF ROMANTIC COMPOSITION IN SCOTLAND BY JOHN FINLAY. IN TWO VOLUMES. VOL II. EDINBURGH: Printed by James Ballantyne 8$ Co. FOR JOHN SMITH AND SON, GLASGOW ; WILLIAM CREECH, AND ARCHIBALD CONSTABLE AND CO. EDINBURGH ; WIL- LIAM MILLER, CADELL AND DAVIES, LONGMAN, HURST, REES, AND ORME, AND JOHN MURRAY, LONDON. 1808. OF S ) CONTENTS OF VOLUME SECOND. ANCIENT. PAGE. \ Jamie Douglas, 1 The Bonnie Earl o* Murray, 11 The Bonnie House o' Airly, 25 x The Gypsie Laddie, 35 v Lammikin, 45 - Lammikin (a different Copy), 55 \- Sweet Willie, 61 The Young Johnston, 71 n The Mermaid, 81 V Willie Mackintosh, 89 MODERN. \ Earl Douglas, 101 " Archie o' Kilspindie, 117 - Auid Walter, 137 V The Wee Wee Man, 157 ^.Als Y yod on ayMounday, 163 Glossary, 185 JAMIE DOUGLAS. This Lament, which is supposed to be deliver- ed by the heroine in person, was composed, I apprehend, on the wife of James Douglas, Earl of Morton, the unfortunate regent of Scotland. " Of his (Morton's) marriage we have told be- fore, how he was married to Douglas his wife, and daughter to the Earl of Morton. -
INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, Day Department, 2016) Assignments for Self-Study (25 Points)
The elective discipline «INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, day department, 2016) Assignments for Self-Study (25 points) Task: Select one British folk ballad from the list below, write your name, perform your individual scientific research paper in writing according to the given scheme and hand your work in to the teacher: Titles of British Folk Ballads Students’ Surnames 1. № 58: “Sir Patrick Spens” 2. № 13: “Edward” 3. № 84: “Bonny Barbara Allen” 4. № 12: “Lord Randal” 5. № 169:“Johnie Armstrong” 6. № 243: “James Harris” / “The Daemon Lover” 7. № 173: “Mary Hamilton” 8. № 94: “Young Waters” 9. № 73:“Lord Thomas and Annet” 10. № 95:“The Maid Freed from Gallows” 11. № 162: “The Hunting of the Cheviot” 12. № 157 “Gude Wallace” 13. № 161: “The Battle of Otterburn” 14. № 54: “The Cherry-Tree Carol” 15. № 55: “The Carnal and the Crane” 16. № 65: “Lady Maisry” 17. № 77: “Sweet William's Ghost” 18. № 185: “Dick o the Cow” 19. № 186: “Kinmont Willie” 20. № 187: “Jock o the Side” 21. №192: “The Lochmaben Harper” 22. № 210: “Bonnie James Campbell” 23. № 37 “Thomas The Rhymer” 24. № 178: “Captain Car, or, Edom o Gordon” 25. № 275: “Get Up and Bar the Door” 26. № 278: “The Farmer's Curst Wife” 27. № 279: “The Jolly Beggar” 28. № 167: “Sir Andrew Barton” 29. № 286: “The Sweet Trinity” / “The Golden Vanity” 30. № 1: “Riddles Wisely Expounded” 31. № 31: “The Marriage of Sir Gawain” 32. № 154: “A True Tale of Robin Hood” N.B. You can find the text of the selected British folk ballad in the five-volume edition “The English and Scottish Popular Ballads: five volumes / [edited by Francis James Child]. -
Kansas History and Folksong
KANSAS HISTORY AND FOLKSONG by Bill and Mary Koch America's musical heritage is a strange mixture, but from its songs, and especially its folksongs, we can relive our historical past. As our ter ritories developed and new states came into the union, songs were made and sung which purported to tell of life and conditions in the new state. Kansas was a crucial area a hundred years ago, and the whole nation's at tention was directed toward her and toward what might transpire on these prairies. The Civil War slowed down the westward movement, but only temporarily, for a new hope had already been fired in the hearts of people, especially those from the old northwest and from the eastern seaboard. Walt Whitman, America's great poet of democratic principles, real ized early in the 19th century the part that music would play in this west ward movement and the settlement of America's great heartland. He praised the west and foresaw what Frederick Jackson Turner, the eminent historian, was to say later about the west\vard movement-that the natural processes of settlement in succeeding new areas afforded the opportunity to slough off undesirable, non-democratic principles and institutions. Both Turner and Whitman were romanticists; that well-known phrase, "The American Dream," meaning the idea of the freedom of opportunity to all, is the theme of much of their literary output. Only a vast public domain and free land could spark this dream to a reality, so men would actually point their covered wagons westward with kids, dogs, hogs, and all, -
Popular British Ballads : Ancient and Modern
11 3 A! LA ' ! I I VICTORIA UNIVERSITY LIBRARY SHELF NUMBER V STUDIA IN / SOURCE: The bequest of the late Sir Joseph Flavelle, 1939. Popular British Ballads BRioky Johnson rcuvsrKAceo BY CVBICt COOKe LONDON w J- M. DENT 5" CO. Aldine House 69 Great Eastern Street E.G. PHILADELPHIA w J. B. LIPPINCOTT COMPANY MDCCCXCIV Dedication Life is all sunshine, dear, If you are here : Loss cannot daunt me, sweet, If we may meet. As you have smiled on all my hours of play, Now take the tribute of my working-day. Aug. 3, 1894. eooccoc PAGE LIST OF ILLUSTRATIONS xxvii THE PREFACE /. Melismata : Musical/ Phansies, Fitting the Court, Cittie, and Countrey Humours. London, 1 6 1 i . THE THREE RAVENS [MelisMtata, No. 20.] This ballad has retained its hold on the country people for many centuries, and is still known in some parts. I have received a version from a gentleman in Lincolnshire, which his father (born Dec. 1793) had heard as a boy from an old labouring man, " who could not read and had learnt it from his " fore-elders." Here the " fallow doe has become " a lady full of woe." See also The Tiua Corbies. II. Wit Restored. 1658. LITTLE MUSGRAVE AND LADY BARNARD . \Wit Restored, reprint Facetix, I. 293.] Percy notices that this ballad was quoted in many old plays viz., Beaumont and Fletcher's Knight of the xi xii -^ Popular British Ballads v. The a Act IV. Burning Pestle, 3 ; Varietie, Comedy, (1649); anc^ Sir William Davenant's The Wits, Act in. Prof. Child also suggests that some stanzas in Beaumont and Fletcher's Bonduca (v. -
University of Sheffield Library
FOLK MUSIC & WORLD MUSIC The University of Sheffield Library RECORDINGS OF FOLK MUSIC AND WORLD MUSIC UNI - ZIM 1 The Garland encyclopedia of world music The following Compact Discs have been removed from the Recordings collection. CD 507 Southeast Asia [Vol.4] CD 508 Africa [Vol. 1] CD 509 Australia and the Pacific Islands [Vol.9] CD 522 South America, Mexico, Central America and the Caribbean [Vol.2] CD 746 South Asia : the Indian Subcontinent [Vol.5] CD 752 Europe [Vol.8] CD 1018 Middle East [Vol.6] CD 1019 East Asia: China, Japan and Korea [Vol.7] They are now to be found accompanying the volumes of the Garland encyclopedia of world music, kept at REF 780.91 (G). Garland encyclopedia of world music is also available online; see http://www.shef.ac.uk/library/cdfiles/garland.html 2 United Kingdom God save the queen E 3 The Voice of the People collection of cds - also includes material from Ireland A M Shinnie CD 819 The bonnie lass o ’Fyvie CD 801 Abroad as I was walking CD 801 The bonnie wee lass who never Adieu unto all true lovers CD 810 said no CD 813 The Aghalee heroes CD 808 The bonnie wee lassie fae Gouroch CD 801 Airlin’s fine braes CD 820 The bonnie wee tramping lass CD 810 The American stranger CD 811 The bonny bunch o’ roses CD 808 An spailpin fanach (the migrant Bonny Kate CD 814 labourer) CD 820 Bonny North Tyne: waltz CD 819 Another man’s weddin CD 806 Bonny Tavern green CD 815 Australia CD 804 The Boscastle breakdown: stepdance CD 809 The Aylesbury girl CD 815 The bottom of the punchbowl CD 813 Bacca pipes: morris jig -
The Creighton-Senior Collaboration, 1932-51
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Athabasca University Library Institutional Repository The Creighton-Senior Collaboration, 1932-51 The arrival of Doreen Senior in Halifax in the book, and she was looking for a new collaborator summer of 1932 was a fortuitous event for Canadian who could note the melodies while she wrote down folksong collecting. Doreen, a friend and disciple of the words. In her autobiography, A Life in Folklore, Maud Karpeles, was a folk and country dance she recalled her first meeting with Doreen in the instructor, trained by the English Folk Dance Society, following terms: who anticipated a career as a music teacher making good use of Cecil Sharp's published collections of For years the Nova Scotia Summer School had Folk Songs for Schools. She was aware that Maud been bringing interesting people here, and one day I was invited to meet a new teacher, Miss had recently undertaken two successful collecting Doreen Senior of the English Folk Song and trips to Newfoundland (in 1929 and 1930), and was Dance Society. She liked people and they liked curious to see if Nova Scotia might similarly afford her to such an extent that whenever I met one of interesting variants of old English folksongs and her old summer school students in later years, ballads, or even songs that had crossed the Atlantic they would always ask about her. She was a and subsequently disappeared in their more urban and musician with the gift of perfect pitch and she industrialized land of origin. -
Eloise Hubbard Linscott Collection [Finding Aid]. Library of Congress
Eloise Hubbard Linscott collection Guides to the Collections in the Archive of Folk Culture American Folklife Center, Library of Congress Washington, D.C. June 2013 Contact information: http://hdl.loc.gov/loc.afc/folklife.contact Additional search options available at: http://hdl.loc.gov/loc.afc/eadafc.af013006 LC Online Catalog record: http://lccn.loc.gov/2008700340 Prepared by Marcia K. Segal Collection Summary Title: Eloise Hubbard Linscott collection Inclusive Dates: 1815-2002 Bulk Dates: 1932-1955 Call No.: AFC 1942/002 Creator: Linscott, Eloise Hubbard Extent (Manuscripts): 34 boxes (18 linear feet); 198 folders. Extent (Sound Recordings): 11 sound cylinders : analog. Extent (Sound Recordings): 441 sound discs : analog ; various sizes. Extent (Sound Recordings): 32 sound tape reels : analog ; various sizes. Extent (Sound Recordings): 1 sound cassette : analog. Extent (Graphic Materials): circa 200 photographs : photographic prints, negatives ; various sizes. Extent (Graphic Materials): 12 drawings. Language: Manuscripts in English; songs sung in English, French, Navajo, Passamaquoddy, Wabanaki, and Wampanoag. Location: Archive of Folk Culture, American Folklife Center, Library of Congress , Washington, D.C. http://hdl.loc.gov/ loc.afc/folklife.home Summary: Eloise Hubbard Linscott’s collection of research materials for her book, Folk Songs of Old New England (1939) and other folk music research through about 1955. The collection includes correspondence; music transcriptions; sound recordings of folk music, lectures, and radio broadcasts; photographs of Linscott's informants; documentation of events and trips within New England; plus some materials from her estate, dated circa 1815-2002. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. -
Context, Structure, and Meaning in the Scottish Ballad
Singing Families of Aberdeenshire: Context, Structure, and Meaning in the Scottish Ballad Thomas A. McKEAN The North-East of Scotland is sometimes called “the cold shoulder of Scotland”, with the cold winds coming off the surrounding North Sea. Cold and windy it may be, but it is also home to one of the most remarkable singing traditions in the world: the classic ballad tradition. In Francis James Child’s The English and Scottish Popular Ballads fully two-thirds of the primary texts come from Aberdeenshire. 1) The ballad in Scottish tradition is a song that tells a story, a compact narrative communicating history, experience, and happenstance along with the human emotional responses to them. The songs contain some of the most distilled and powerful poetic language to be found anywhere, in the service of dramatic, and sometimes horrifying plots. Before reflecting on the form and structure of the Scottish ballad, I want to focus on the people who sing. There has been extensive research on ballad texts, their background history, and the melodies to which they were sung, but comparatively little attention spent on who sings, why they sing, what it means to them, and how the songs function in their lives. The following may be considered a brief introduction to four prominent Scottish Traveller families, people for whom song is a part of daily life, a part of regular human communication, rather than for performance on a stage. On the way, we will encounter their society and consider their singing style. Families are the basic unit of folk song. -
The English Occupational Song
UNIVERSITY OF UMEÅ DISSERTATION ISSN 0345-0155-ISBN 91-7174-649-8 From the Department of English, Faculty of Humanities, University of Umeå, Sweden. THE ENGLISH OCCUPATIONAL SONG AN ACADEMIC DISSERTATION which will, on the proper authority of the Chancellor's Office of Umeå University for passing the doctoral examination, be publicly defended in Hörsal E, Humanisthuset, on Saturday, May 23, at 10 a.m. Gerald Porter University of Umeå Umeå 1992 ABSTRACT THE ENGLISH OCCUPATIONAL SONG. Gerald Porter, FL, Department of English, University of Umeå, S 901 87, Sweden. This is the first full-length study in English of occupational songs. They occupy the space between rhythmic work songs and labour songs in that the occupation signifies. Occupation is a key territorial site. If the métier of the protagonist is mentioned in a ballad, it cannot be regarded as merely a piece of illustrative detail. On the contrary, it initiates a powerful series of connotations that control the narrative, while the song's specific features are drawn directly from the milieu of the performer. At the same time, occupational songs have to exist in a dialectical relationship with their milieu. On the one hand, they aspire to express the developing concerns of working people in a way that is simultaneously representational and metaphoric, and in this respect they display relative autonomy. On the other, they are subject to the mediation of the dominant or hegemonic culture for their dissemination. The discussion is song-based, concentrating on the occupation group rather than, as in several studies of recent years, the repertoire of a singer or the dynamics of a particular performance. -
The Haunted Hour
THE HAUNTED HOUR An Anthology COMPILED BY MARGARET WIDDEMER NEW YORK HARCOURT, BRACE AND HOWE 1920 COPYRIGHT, 1920, BY HARCOURT, BRACE AND HOWE, INC. THE QUINN & BODEN COMPANY RAHWAY, N. J. COPYRIGHT NOTICE For the use of the copyrighted material included in this volume permission has been secured either from the author or his authorized publishers. All rights in these poems are reserved by the holders of the copyright, or the authorized publishers, as named below: To George H. Doran Co. for the poems of Joyce Kilmer and May Byron. To Doubleday, Page & Co. and Rudyard Kipling for Mr. Kipling's "The Looking-Glass." To E. P. Dutton & Co. for Helen Gray Cone's "Blockhouse on the Hill," from her A Chant of Love for England. To Harper & Bros. for the poems of Arthur Guiterman, Don Marquis, and Don C. Seitz. To Henry Holt and Co. for the poems of Francis Carlin, Walter De La Mare, Louis Untermeyer, and Margaret Widdemer. To Houghton Mifflin Co. for Anna Hempstead Branch's "Such Are the Souls in Purgatory" from Heart of the Road, the poems of Henry W. Longfellow, Nathan Haskell Dole's "Russian Fantasy," Amy Lowell's "Haunted" from Pictures of the Floating World, May Kendall's "A Legend." To Mitchell Kennerley for the poems of Theodosia Garrison, Dora Sigerson Shorter, and Edna St. Vincent Millay. To John Lane Co. for the poems of Rosamund Marriott Watson, Winifred Letts, A. E. Housman's "True Lover," Nora Hopper's "Far Away Country," Marjorie Pickthall's "Mary Shepherdess." To the Macmillan Co. for W. -
Table ID Book Titile Song Title 4
Table ID Book Titile Song Title 4 701 - 4 672 "Lo'e me little, and lo'e me lang" 4 707 "O Mither, ony Body" 4 1176 "Saw ye Johnnie comin'?" quo' She 4 766 "The Dream of Life's young Day " 1 2111 "Your Hand is cauld as Snaw " (xxx.) 2 1555 [O] hearken, and I will tell you how 4 596 Whistle Binkies Vol1 A Bailie's Morning Adventure 2 5 Jacobite Relics of Scotland v. 2 A BALLAND, &c 4 845 Whistle Binkie Vol 2 A Bonnie Bride is easy buskit 4 846 A bonnie wee lassie 1 1753 Scots Minstrelsie v. 3 A Braw young Lad o' High Degree (xxi.) 4 597 A British Sailor's Song 1 573 A cogie o' ale an' a pickle aitmeal 4 598 A Cook's Legacy 4 847 A December Dirty 1 574 A famous man was Robin Hood 1 284 A friend o' mine cam' here yestreen 4 477 A guid new year to ane and a' 1 129 A Health 1 1468 A health to Betty, (note,) 2 139 A Health to the Constitution 4 600 A Highland Garland 2 653 A Highland Lad 4 850 A Highland Pilgram's Progress 4 1211 A jacobite Lament 1 579 A' kinds o' lads an' men I see 2 7 A lamentable Ditty on the Death of Geordie 1 130 A Litany 1 1842 A Love-Note a' to yersel' (xi.) 4 601 A Lullaby 4 1206 A lyke wake dirge 1 291 A Man's a Man for a that 4 602 A Mother's Advice 4 989 Whistle Binkie Vol 2 (Songs for the A Mother's Cares and Toil's 4 603 Nursery) A Mother's Duty 4 990 A Mother's Farewell 4 991 A Mother's Joys 4 992 A Mother's Song 4 993 A Mother's Welcome 1 92 A Narrative of the old Plot; being a new Song 1 93 A new Litany 4 1065 Whistle Binkie Vol 2 (Scenes … A noisy Nursery 3 757 Nursery) A puir mitherless Wean 2 1990 A red, red rose 4 251 A Rosebud by my early Walk 4 855 A Scottish Welcome to H.