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Bowing Styles in Irish Fiddle Playing Vol 3
Bowing Styles in Irish Fiddle Playing Vol 3 David H. Lyth July 2016 2 This is the third volume of a series of transcriptions of Irish traditional fiddle playing. The others are `Bowing Styles in Irish Fiddle Playing Vol I' and `Bowing Styles in Irish Fiddle Playing Vol 2'. Volume 1 contains reels and hornpipes recorded by Michael Coleman, James Morrison and Paddy Killoran in the 1920's and 30's. Volume 2 contains several types of tune, recorded by players from Clare, Limerick and Kerry in the 1950's and 60's. Volumes I and II were both published by Comhaltas Ceoltoiri Eirann. This third volume returns to the players in Volume 1, with more tune types. In all three volumes, the transcriptions give the bowing used by the per- former. I have determined the bowing by slowing down the recording to the point where the gaps caused by the changes in bow direction can be clearly heard. On the few occasions when a gap separates two passages with the bow in the same direction, I have usually been able to find that out by demanding consistency; if a passage is repeated with the same gaps between notes, I assume that the directions of the bow are also repeated. That approach gives a reliable result for the tunes in these volumes. (For some other tunes it doesn't, and I have not included them.) The ornaments are also given, using the standard notation which is explained in Volumes 1 and 2. The tunes come with metronome settings, corresponding to the speed of the performance that I have. -
RTE NSO 25 Sept Prog.Qxp:Layout 1
WATCH rte.ie/culture LISTEN RTÉ lyric fm ARTHUR DUFF Echoes of Georgian Dublin JOHN KINSELLA Nocturne for Strings MÍCHEÁL Ó SÚILLEABHÁIN Bean Dubh an Ghleanna Oileán/Island Traditional arr. NEIL MARTIN The Fairy Queen Danny Boy The Humours of Ballyloughlin RTÉ National Symphony Orchestra David Brophy conductor Mark Redmond uilleann pipes, flute Presented by Paul Herriott, RTÉ lyric fm FRIDAY 25 SEPTEMBER 2020, 7pm NATIONAL CONCERT HALL 1 Arthur Duff 1899-1956 Echoes of Georgian Dublin i. In College Green ii. Song for Amanda iii. Minuet iv. Largo (The tender lover) v. Rigaudon Arthur Duff showed early promise as a musician. He was a chorister at Dublin’s Christ Church Cathedral and studied at the Royal Irish Academy of Music, taking his degree in music at Trinity College, Dublin. He was later awarded a doctorate in music in 1942. Duff had initially intended to enter the Church of Ireland as a priest, but abandoned his studies in favour of a career in music, studying composition for a time with Hamilton Harty. He was organist and choirmaster at Christ Church, Bray, for a short time before becoming a bandmaster in the Army School of Music and conductor of the Army No. 2 band based in Cork. He left the army in 1931, at the same time that his short-lived marriage broke down, and became Music Director at the Abbey Theatre, writing music for plays such as W.B. Yeats’s The King of the Great Clock Tower and Resurrection, and Denis Johnston’s A Bride for the Unicorn. The Abbey connection also led to the composition of one of Duff’s characteristic works, the Drinking Horn Suite (1953 but drawing on music he had composed twenty years earlier as a ballet score). -
Scottish and Irish Elements of Appalachian Fiddle Music
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.> Date / / - ( /'--/----- --",,-..- Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'- ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---. -
YEATS ANNUAL No. 18 Frontispiece: Derry Jeffares Beside the Edmund Dulac Memorial Stone to W
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/194 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the same series YEATS ANNUALS Nos. 1, 2 Edited by Richard J. Finneran YEATS ANNUALS Nos. 3-8, 10-11, 13 Edited by Warwick Gould YEATS AND WOMEN: YEATS ANNUAL No. 9: A Special Number Edited by Deirdre Toomey THAT ACCUSING EYE: YEATS AND HIS IRISH READERS YEATS ANNUAL No. 12: A Special Number Edited by Warwick Gould and Edna Longley YEATS AND THE NINETIES YEATS ANNUAL No. 14: A Special Number Edited by Warwick Gould YEATS’S COLLABORATIONS YEATS ANNUAL No. 15: A Special Number Edited by Wayne K. Chapman and Warwick Gould POEMS AND CONTEXTS YEATS ANNUAL No. 16: A Special Number Edited by Warwick Gould INFLUENCE AND CONFLUENCE: YEATS ANNUAL No. 17: A Special Number Edited by Warwick Gould YEATS ANNUAL No. 18 Frontispiece: Derry Jeffares beside the Edmund Dulac memorial stone to W. B. Yeats. Roquebrune Cemetery, France, 1986. Private Collection. THE LIVING STREAM ESSAYS IN MEMORY OF A. NORMAN JEFFARES YEATS ANNUAL No. 18 A Special Issue Edited by Warwick Gould http://www.openbookpublishers.com © 2013 Gould, et al. (contributors retain copyright of their work). The text of this book is licensed under a Creative Commons Attribution 3.0 Unported Licence. This licence allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text. -
Austin Clarke Papers
Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 83 Austin Clarke Papers (MSS 38,651-38,708) (Accession no. 5615) Correspondence, drafts of poetry, plays and prose, broadcast scripts, notebooks, press cuttings and miscellanea related to Austin Clarke and Joseph Campbell Compiled by Dr Mary Shine Thompson 2003 TABLE OF CONTENTS Introduction 7 Abbreviations 7 The Papers 7 Austin Clarke 8 I Correspendence 11 I.i Letters to Clarke 12 I.i.1 Names beginning with “A” 12 I.i.1.A General 12 I.i.1.B Abbey Theatre 13 I.i.1.C AE (George Russell) 13 I.i.1.D Andrew Melrose, Publishers 13 I.i.1.E American Irish Foundation 13 I.i.1.F Arena (Periodical) 13 I.i.1.G Ariel (Periodical) 13 I.i.1.H Arts Council of Ireland 14 I.i.2 Names beginning with “B” 14 I.i.2.A General 14 I.i.2.B John Betjeman 15 I.i.2.C Gordon Bottomley 16 I.i.2.D British Broadcasting Corporation 17 I.i.2.E British Council 17 I.i.2.F Hubert and Peggy Butler 17 I.i.3 Names beginning with “C” 17 I.i.3.A General 17 I.i.3.B Cahill and Company 20 I.i.3.C Joseph Campbell 20 I.i.3.D David H. Charles, solicitor 20 I.i.3.E Richard Church 20 I.i.3.F Padraic Colum 21 I.i.3.G Maurice Craig 21 I.i.3.H Curtis Brown, publisher 21 I.i.4 Names beginning with “D” 21 I.i.4.A General 21 I.i.4.B Leslie Daiken 23 I.i.4.C Aodh De Blacam 24 I.i.4.D Decca Record Company 24 I.i.4.E Alan Denson 24 I.i.4.F Dolmen Press 24 I.i.5 Names beginning with “E” 25 I.i.6 Names beginning with “F” 26 I.i.6.A General 26 I.i.6.B Padraic Fallon 28 2 I.i.6.C Robert Farren 28 I.i.6.D Frank Hollings Rare Books 29 I.i.7 Names beginning with “G” 29 I.i.7.A General 29 I.i.7.B George Allen and Unwin 31 I.i.7.C Monk Gibbon 32 I.i.8 Names beginning with “H” 32 I.i.8.A General 32 I.i.8.B Seamus Heaney 35 I.i.8.C John Hewitt 35 I.i.8.D F.R. -
Collections of Musicians' Letters in the UK and Ireland: a Scoping Study
Collections of musicians’ letters in the UK and Ireland: a scoping study Katharine Hogg, Rachel Milestone, Alexis Paterson, Rupert Ridgewell, Susi Woodhouse London December 2011 1 Acknowledgements The authors would like to thank all those who gave their time and expertise to make this scoping study possible. They include: the staff of organisations and individuals responding to the survey, staff at the BBC Written Archives, Oxford University Press, the London Symphony Orchestra, Cheltenham Festivals, Royal Festival Hall, Royal Academy of Music, Royal Society of Musicians, and those who kindly agreed to be interviewed on their use and perception of archives of letters. © Music Libraries Trust 2012 2 Contents 1. Introduction ...................................................................................................................................... 5 2. Rationale ........................................................................................................................................... 5 2.1. The resource................................................................................................................................................ 5 2.2. Repositories ................................................................................................................................................ 5 2.3. Resource discovery...................................................................................................................................... 6 2.4. Data integration.......................................................................................................................................... -
Papers of Josephine Mcneill P234 Descriptive Catalogue UCD Archives
Papers of Josephine McNeill P234 Descriptive Catalogue UCD Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2009 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical History iv Archival History iv CONTENT AND STRUCTURE Scope and content vi System of arrangement vi CONDITIONS OF ACCESS AND USE Access x Language x Finding Aid x DESCRIPTION CONTROL Archivist’s Note xi iii CONTEXT Biographical History McNEILL, Josephine (1895–1969), diplomat, was born 31 March 1895 in Fermoy, Co. Cork, daughter of James Ahearne, shopkeeper and hotelier, and Ellen Ahearne (née O’Brien). She was educated at Loretto Convent, Fermoy, and UCD (BA, H.Dip.Ed.). With a BA in French and German she began a teaching career, teaching at St Louis’ Convent, Kiltimagh, at the Ursuline Convent, Thurles, and at Scoil Íde, the female counterpart of St Enda’s, established by her friend Louise Gavan Duffy (qv). A fluent Irish-speaker with an interest in Irish language, music, and literature, she took an active part in the cultural side of the Irish independence movement. She was also a member of Cumann na mBan and in 1921 a member of the executive committee of that organisation. She was engaged to Pierce McCann, who died of influenza in Gloucester jail (March 1919). In 1923 she married James McNeill, Irish high commissioner in London 1923–8. Josephine McNeill took reluctantly to diplomatic life, but it never showed in public. Her charm and intelligence were immediately apparent, and in a period when Joseph Walshe (qv), the secretary of the Department of External Affairs, viewed married diplomats and diplomatic wives with disdain, McNeill was a noted hostess, both in London and later in Dublin, where James McNeill was governor general of the Irish Free State (1928–32). -
Entertainment SCHEDULE
entertainment SCHEDULE SCOTTS MIRACLE-GRO MEMORIAL TOURNAMENT GIANT EAGLE GUINNESS CARDINAL HEALTH Time DUBLIN STAGE TRINITY STAGE IRISH THUNDER STAGE CELTIC ROCK STAGE CEILI DANCE STAGE SHAMROCK STAGE CELTIC MUSIC HOUSE 4 p.m. The Mclans 4:30 p.m. Regan Rankin Holland Academy of Irish Closed for Private 4:15 p.m.-5:30 p.m. Millennium Academy of Irish Dance and Music Nelson & Adzima 5 p.m. Dance 4:45 p.m.–5:30 p.m. Ceremony 4:30 p.m.-5:15 p.m. Sherman & Clepper 4:15 p.m.-5:25 p.m. Richens/Timm Academy of Irish Dance 4:30 p.m.-5:40 p.m. 3 5:30 p.m. Capital City Pipes & Drums 5:30 p.m.-5:50 p.m. 5:15 p.m.-6 p.m. T 6 p.m. Festival Dedication Irwin Academy of Irish Dance John Williams S Eileen Ivers The Stanfields Hooligans 6:30 p.m. 6 p.m.-6:30 p.m. Cyril Scott Pipe Band - 6:30 p.m.-6:50 p.m. 6 p.m.-6:45 p.m. 5:45 p.m.-6:55 p.m. U 6 p.m.-7:30 p.m. 6 p.m.-7:15 p.m. 6 p.m.-7:10 p.m. G 7 p.m. Feis Warmup - 7 p.m.-7:30 p.m. U Broderick & Curley Mossy Moran 7:30 p.m. Jiggy A 7 p.m.-8:10 p.m. 7:15 p.m.-8:25 p.m. The Kells Band , 8 p.m. 7:15 p.m. -
12Th Annual Sean-Nós Northwest Traditional Irish Festival
12th Annual Sean-nós Northwest Traditional Irish Festival The Evergreen State College Olympia, Washington April 13-14, 2019 www.seannos.org Cover art: “Orca” by Jill Sattler Festival Schedule Tea and coffee always available in the lobby Saturday, April 13, 2019 9:00 – 9:30 am Check-in 9:30 – 10:00 am Welcome/building orientation 10:00 – 11:15 am Workshop Session 1 11:15 – 12:30 pm Workshop Session 2 12:30 – 2:00 pm Lunch on your own 2:00 – 3:15 pm Workshop Session 3 3:15 – 3:45 pm Tea and Treats 3:45 – 5:00 pm Workshop Session 4 5:00 – 7:30 pm Dinner on your own 7:30 – 9:30 pm Festival Concert 9:30 – ??? Possible Session Sunday, April 14, 2019 9:30 – 10:00 am Sunday-only Check-in 10:00 – 11:15 am Workshop Session 5 11:15 – 12:30 pm Workshop Session 6 12:30 – 2:00 pm Lunch on your own 2:00 – 3:15 pm Workshop Session 7 3:15 – 3:45 pm Tea and Treats 3:45 – 5:00 pm Workshop Session 8 5:00 – 10:00 pm Session at Cooper Point Pub Session located at 3002 Harrison Avenue NW, Olympia Intersection of Harrison and Cooper Point Road NW No-host session with full menu and bar available All ages welcome 1 Welcome to the 12th Annual Sean-nós Northwest Traditional Irish Festival! Greetings! On behalf of the Sean-nós Northwest Festival, we are pleased to welcome you to Olympia! Our mission is to teach and celebrate Irish sean-nós (“old style”) singing and dancing, as well as the Irish language (Gaeilge). -
I Muse and Method in the Songs of Hamilton Harty
Muse and Method in the Songs of Hamilton Harty: Three Early Works, 1895–1913 Judith Carpenter A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music The University of Sydney 2017 Sydney, Australia i This thesis is dedicated to the memory of my mother. To an Athlete Dying Young A. E. HOUSMAN The time you won your town the race We chaired you through the market-place; Man and boy stood cheering by, And home we brought you shoulder-high. Today, the road all runners come, Shoulder-high we bring you home, And set you at your threshold down, Townsman of a stiller town. Smart lad, to slip betimes away From fields where glory does not stay, And early though the laurel grows It withers quicker than the rose. Eyes the shady night has shut Cannot see the record cut, And silence sounds no worse than cheers After earth has stopped the ears. Now you will not swell the rout Of lads that wore their honours out, Runners whom renown outran And the name died before the man. So set, before its echoes fade, The fleet foot on the sill of shade, And hold to the low lintel up The still-defended challenge-cup. And round that early-laurelled head Will flock to gaze the strengthless dead, And find unwithered on its curls The garland briefer than a girl’s. ii iii Contents Preface........................................................................................................................... vi Abstract ......................................................................................................................... -
A Field Guide to Irish Music
A Field Guide to Irish Music Rosanne Santucci Table of Contents Table of Contents ............................................................................................................. 2 About Irish Music .............................................................................................................. 3 Guitar Chords ................................................................................................................... 7 Where to Listen ................................................................................................................ 8 Where to Learn ............................................................................................................... 10 Tunes .............................................................................................................................. 11 About This Book I wrote this out of sympathy for anyone who’s interested in playing Irish traditional music but has no idea where or how to start; in other words, someone like me as of a few years ago. I didn’t know what a session was like, and I didn’t understand why tunes sounded painfully lame when I played them verbatim off the page. One lazy summer day, I Googled “Boston Irish session” and found out about the early session at the Green Briar in Brighton. After mustering up my courage, I showed up and sat there, ears open and flute in my lap, every week for months until the tunes started to sink in and I saw what other players did to breathe life into them. Gradually I branched out to other sessions, -
Epitaph for a Musician: Rhoda Coghill As Pianist, Composer and Poet
Epitaph for a Musician: Rhoda Coghill as Pianist, Composer and Poet And Spirit’s new mysterious theme Only the dead musician hears.1 Rhoda Coghill (1903–2000) was one of Ireland’s best-known pianists during the early and middle decades of the twentieth century. However, Coghill also attempted to establish herself as a composer in the post-Free-State years, before switching her creative focus to poetry in the mid-1940s while still maintaining her busy performance career. Reassessing Coghill’s legacy is timely given how Irish musicology has evolved in the past decades, particularly with the publication of The Encyclopaedia of Music in Ireland (2013) which constitutes a major effort to evaluate how diverse works, perfor- mances, individuals and organizations have shaped music in this country. Axel Klein has examined Coghill’s cantata Out of the Cradle Endlessly Rocking, while Richard Pine has noted her long-time role as accompanist with Radio Éireann (later, from 1966, RTÉ: Raidió Telefís Éireann).2 Further research has highlighted how Irish women such as the composer Ina Boyle and Feis Ceoil founder Annie Patterson influenced the twen- tieth-century art-music scene;3 and recent initiatives such as Claire Cunningham’s Women of Note radio series for Lyric FM in 2012 have in turn brought this work to mainstream audiences. This article seeks to clarify the chronology of Coghill’s artistic endeavours, highlight the availability of archival material, examine the stylistic 1 Rhoda Coghill, ‘Epitaph for a Musician’, Time is a Squirrel (Dublin: Dolmen Press, 1956). 2 Axel Klein, Die Musik Irlands im 20.