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LITURGY NEWSLETTER Vol
LITURGY NEWSLETTER Vol. 1 No. 4 August 2001 A Quarterly Newsletter prepared for the Liturgy Office of the Catholic Bishops’ Conference of England and Wales THE EDITOR WRITES: “Any new forms adopted should in some way grow organically from forms already in existence.” This quotation from Vatican II (Sac. Conc. 23) forms the concluding words of the Instruction Comme le prévoit which has governed the project of liturgi- In the mind of the Lord, cal translation since 1969. It also expresses an age-old principle not just of liturgical development the Church is universal by vocation and mis- but of Church teaching and discipline in general, the principle of organic development which sion, but when she puts proceeds not by radical discontinuities but by incorporating and building on previous statements, down her roots in a to establish continuity and consolidate authority (see the footnotes of any encyclical). variety of cultural, social and human terrains, she The new Instruction Liturgiam authenticam is a profoundly untraditional document. In 133 takes on different exter- paragraphs and 86 footnotes it never once mentions the document it supersedes, and in so many nal expressions and respects it appears to repudiate or subvert not only its immediate predecessor but also the project appearances in each part of the world. of Paul VI whereby the people’s prayer becomes the prayer of the Church while at the same time Paul VI, remaining perfectly accessible to them. Evangelii Nuntiandi 1975 This troubling document is, sad to say, rather mean-spirited. Its attitude to the vernacular seems wholly grudging and concessive and is hard to reconcile with the positive openness to other cultures and languages displayed by Vatican II (e.g. -
News from Around the Region Geraldine Elliott, Director North
Geraldine Elliott, Director North Central Region, AHS 753 Crestwood Dr. Waukesha, WI 53188 262.547.8539 [email protected] A tax-exempt non-profit corporation founded in 1962 Greetings to All Harpists in the North Central Region. I am honored to be your Regional Director at this exciting time in the life of the American Harp Society. Please let me know how I can facilitate communications between and among harpists in the Region. This Newsletter is one means of spreading the word among all the chapters in the Region, but it comes only once a year. There will be a second, email-only, message in the spring, so it is vitally important that we have accurate email addresses for all harpists. We send this newsletter to let you know about harp-happenings that are closer and less expensive (some are even free!) than the National meetings that are coming up. Please let me know of new items that arise so I can include them in the spring email blast. And donʼt forget to send me your accurate email address. THE AMERICAN HARP SOCIETY 9TH SUMMER INSTITUTE AND 19TH NATIONAL COMPETITION JUNE 19-23, 2011 THE LYON AND HEALY AWARDS JUNE 18-19, 2011 DENTON, TX (DALLAS/FT. WORTH AREA) WWW.MUSIC.UNT.EDU/HARP The University of North Texas welcomes the American Harp Society to enjoy a wonderful week. All events will be geared towards students and will include master classes, workshops, ensemble performances and viewing of historic harps. Performances will feature harpists of the Southwest and Emily Mitchell, guest artist and Heidi Van Hoesen Gorton, the AHS Concert Artist, and Michael Colgrass will be guest clinician. -
The Fiddler Magazine General Store Prices Listed in U.S
The Fiddler Magazine General Store Prices listed in U.S. funds. Online ordering (PayPal) available on our website: www.fiddle.com (www.fiddlermagazine.com) SPECIAL OFFERS: • Get a free back issue of your choice with your 3-year subscription! Please indicate 1st, 2nd, and 3rd choices on the order form. • Choose any ten back issues for $50 plus postage, or ALL available back issues for $150 plus postage. Over a $250 value! BACK ISSUES (Only avail. issues are listed below. Quantities limited.) Winter ’02/’03: Matt Glaser; Ruthie Dornfeld; Patrick Ourceau; Bob Fulcher & Music of the Cumberland Trail; History of Swing to Bebop, Part I; Thoth… Spring ’94: Martin Hayes; County Clare Fiddling; Laurie Lewis… Spring ’03: Doug Kershaw; Brendan McGlinchey; Arto Järvelä; Seán Smyth; Taraf Fall ’94 (Note: B&W photocopy): A Short History of Cajun Fiddling; Michael de Haïdouks; History of Swing to Bebop, Part II… Doucet; Barbara Lamb; London Auctions; Barn Dances & House Dances… Summer ’03: Dan Gellert; Rayna Gellert; Bobby Hicks; Paddy Glackin; Chris Fall ’95: Donegal Fiddling; Mairéad Ní Mhaonaigh; Canray Fontenot; Oliver Daring; Daniel Slosberg; Dorado Schmitt; Swing to Bebop, Part III… Schroer; “Cindy” Lyrics; Fiddling in the 1700s; Fiddling Bob Taylor… Fall ’03: Norwegian Fiddling; Håkon Høgemo; Vegar Vårdal; Cowboy Fiddler Bus Win. ’95/’96: Appalachian Fiddling; Charlie Acuff; Stéphane Grappelli; Violet Hensley; Boyk; Pat McManus; Gene Goforth… Jess Morris: Texas Cowboy Fiddler; Violin Books; Learning Tips… Winter ’03/’04: Hollis Taylor; Matt Cranitch; -
A History of British Music Vol 1
A History of Music in the British Isles Volume 1 A History of Music in the British Isles Other books from e Letterworth Press by Laurence Bristow-Smith e second volume of A History of Music in the British Isles: Volume 1 Empire and Aerwards and Harold Nicolson: Half-an-Eye on History From Monks to Merchants Laurence Bristow-Smith The Letterworth Press Published in Switzerland by the Letterworth Press http://www.eLetterworthPress.org Printed by Ingram Spark To © Laurence Bristow-Smith 2017 Peter Winnington editor and friend for forty years ISBN 978-2-9700654-6-3 1 3 5 7 9 8 6 4 2 Contents Acknowledgements xi Preface xiii 1 Very Early Music 1 2 Romans, Druids, and Bards 6 3 Anglo-Saxons, Celts, and Harps 3 4 Augustine, Plainsong, and Vikings 16 5 Organum, Notation, and Organs 21 6 Normans, Cathedrals, and Giraldus Cambrensis 26 7 e Chapel Royal, Medieval Lyrics, and the Waits 31 8 Minstrels, Troubadours, and Courtly Love 37 9 e Morris, and the Ballad 44 10 Music, Science, and Politics 50 11 Dunstable, and la Contenance Angloise 53 12 e Eton Choirbook, and the Early Tudors 58 13 Pre-Reformation Ireland, Wales, and Scotland 66 14 Robert Carver, and the Scottish Reformation 70 15 e English Reformation, Merbecke, and Tye 75 16 John Taverner 82 17 John Sheppard 87 18 omas Tallis 91 19 Early Byrd 101 20 Catholic Byrd 108 21 Madrigals 114 22 e Waits, and the eatre 124 23 Folk Music, Ravenscro, and Ballads 130 24 e English Ayre, and omas Campion 136 25 John Dowland 143 26 King James, King Charles, and the Masque 153 27 Orlando Gibbons 162 28 omas -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
Phonographic Bulletin
iasa International Association of Sound Archives Association Internationale d'Archives Sonores Internation~le Vereinigun~ 'd,er,Schallarchive phonographic bulletin no.29/March 1981 PHONOGRAPHIC BULLETIN Journal of the International Association of Sound Archives IASA Organe de 1 'Association Internationale d'Archives Sonores IASA Zeitschrift der Internationalen Vereinigung der Schallarchive IASA Associate Editors: Ann Briegleb, Ethnomusiocology Archives, UCLA, Los Angeles; Frank J. Gillis, Archives of Traditional Music, Indiana University, B1oomington. Technical Editor: Dr. Dietrich SchUller, Phonograrrunarchiv der Oesterreichischen Akademie der Wissenschaften, Wien. The PHONOGRAPHIC BULLETIN is published three times a year and is sent to all members of IASA. Applications for membership in IASA should be sent to the Secretary (see list of officers be low). The annual dues are at the moment 25.-Deutsche Mark for individual members and 60. Deutsche Mark for institutional members. Back copies of the PHONOGRAPHIC BULLETIN from 1971 are available at 15.-Deutsche Mark for each year's issue, including postage. Subscriptions to the current year's issues of the PHONOGRAPHIC BULLETIN are also available to non-members at a cost of 25.-Deutsche Mark. Le journal de 1 'Association internationale d'archives sonores, le PHONOGRAPHIC BULLETIN, est publie trois fois 1 'an et distribue a tous les membres. Veuillez envoyer vos demandes d'adhesion au \secretaire dont vous trouverez 1 'adresse ci-dessous. Les cotisations annuel1es sont en ce . moment de 25.-Deutsche Mark pour les membres individuels et 60.-Deutsche Mark pour les membres . institutionne1s. Les numeros precedents (a partir de 1971) du PHONOGRAPHIC BULLETIN sont dis ponibles au cout de 15.-Deutsche Mark par annee (frais de port inclus). -
The Interaction of Scottish and English Evangelicals
THE INTERACTION OF SCOTTISH AND ENGLISH EVANGELICALS 1790 - 1810 Dudley Reeves M. Litt. University of Glasgov 1973 ProQuest Number: 11017971 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11017971 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ACKNOWLEDGMENTS I gratefully acknowledge my indebtedness to the following: The Rev. Ian A. Muirhead, M.A., B.D. and the Rev. Garin D. White, B.A., B.D., Ph.D. for their most valuable guidance and criticism; My wife and daughters for their persevering patience and tolerance The staff of several libraries for their helpful efficiency: James Watt, Greenock; Public Central, Greenock; Bridge of Weir Public; Trinity College, Glasgow; Baptist Theological College, Glasgow; University of Glasgow; Mitchell, Glasgow; New College, Edinburgh; National Library of Scotland, Edinburgh; General Register House, Edinburgh; British Museum, London; Sion College, London; Dr Williams's, London. Abbreviations British and Foreign Bible Society Baptist Missionary Society Church Missionary Society London Missionary Society Ii§I I Ii§I Society for Propagating the Gospel at Home SSPCK Scottish Society for the Propagation of Christian Knowledge CONTENTS 1. -
Arts at St. Bede's
Sunday, October 25 San Francisco Renaissance Voices – Viva Italia! oin us for music from Italy’s great castles, cathedrals, Arts at St. Bede’s and countryside, featuring Palestrina’s Missa Nasce Jla gioa mia for six voices, madrigals by Aleotti, Asola, 2015 – 2016 Season Casulana, Croce, Marenzio, Primavera, Striggio, and Vecchi, and commedia dell’arte dance solos featuring SFRV Dance Director Jennifer Meller. St. Bede’s Episcopal Church At door: $30 general/$25 senior/$25 student/$15 under-12 Thomas Pacha Photo: 2650 Sand Hill Road, Menlo Park For more info & advance purchase, see www.sfrvoices.org Sunday, December 13 All performances are at 4:00pm Sunday, November 8 Kitka – Wintersongs Collage Vocal Ensemble – Heavenly Bodies intersongs showcases seasonal music from a wide his Los Altos-base chamber choir, under variety of Eastern European ethnic and spiritual Sunday, September 27 the direction of Amy Hunn, celebrates the Wtraditions. Kitka’s program features rousing Slavic folk St. Bede’s Choir – Fall Evensong Tbeauty and power of bodies both celestial and carols, meditative Eastern and Bosnian-Muslim sacred physical, and features works by Monteverdi, oaring chant, stirring hymnody, works, pagan incantations, Hebrew songs, and lively Mozart, Urmas Sisask, Jonathan Dove, and and dramatic poetry will highlight Romany tunes, all inspired by the customs, beauty, and the Beatles. www.collagevocalensemble.org this Service of Light, which welcomes mystery of wintertime. S $15 suggested donation benefitsInnVision Shelter Network the lengthening shadows of autumn At door: $40 center-front/$35 general/$30 senior/$15 student For more info & advance purchase, see www.kitka.org with a bounteous harvest of music by Sunday, November 22 Hildegard von Bingen, Sister Élise, and Libby Larsen. -
Eisteddfod Handout Prepared for Ninth Welsh Weekend for Everyone by Marilyn Schrader
Eisteddfod handout prepared for Ninth Welsh Weekend for Everyone by Marilyn Schrader An eisteddfod is a Welsh festival of literature, music and performance. The tradition of such a meeting of Welsh artists dates back to at least the 12th century, when a festival of poetry and music was held by Rhys ap Gruffydd of Deheubarth at his court in Cardigan in 1176 but, with the decline of the bardic tradition, it fell into abeyance. The present-day format owes much to an eighteenth-century revival arising out of a number of informal eisteddfodau. The date of the first eisteddfod is a matter of much debate among scholars, but boards for the judging of poetry definitely existed in Wales from at least as early as the twelfth century, and it is likely that the ancient Celtic bards had formalized ways of judging poetry as well. The first eisteddfod can be traced back to 1176, under the auspices of Lord Rhys, at his castle in Cardigan. There he held a grand gathering to which were invited poets and musicians from all over the country. A chair at the Lord's table was awarded to the best poet and musician, a tradition that prevails in the modern day National Eisteddfod. The earliest large-scale eisteddfod that can be proven beyond all doubt to have taken place, however, was the Carmarthen Eisteddfod, which took place in 1451. The next recorded large-scale eisteddfod was held in Caerwys in 1568. The prizes awarded were a miniature silver chair to the successful poet, a little silver crwth to the winning fiddler, a silver tongue to the best singer, and a tiny silver harp to the best harpist. -
Australian Free Presbyterian Vol. 2 1917- 1921
VOL. 2 NO 1. The Australian The Australian Free Presbyterian. Free Presbyterian. ══════════════════════════════════════════════════ Vol. 2 – No. 1 JULY, 1917. ––––––––––––––––––––– ══════════════════════════════════════════════════ A MAGAZINE THE TOKEN OF THE COVENANT; OR THE SUBJECTS, THE FOR THE MODE, AND THE NATURE AND DESIGN OF BAPTISM. Defence and Advocacy of Scriptural Doctrine, (Continued from Page 344, Vol. 1. No. 14). 16. But whatever objections might have been urged against the Worship, Government and Discipline. circumcision of infants, and whatever efforts may have been made to get rid of ––––––––––––––––– the precedent which it furnishes, and of the practice which it established as BY AUTHORITY OF THE ASSEMBLY OF divine-ly prescribed, it was appointed by God that infants should be THE FREE PRESBYTERIAN CHURCH OF AUSTRALIA. circumcised. In instituting circumcision he especially requires, “every man- child among you shall be circumcised; he that is eight days old among you ––––––––––––––––––––––––––– shall be circumcised every man-child in your generation: he that is born in JULY, 1917. house, or bought with money of any stranger, which is not of thy seed.” And, ––––––––––––––––––––––––––– as circumcision was the token of the covenant of grace and the rite of NEC TAMEN CONSUMBATUR admission into the visible Church, infants, when circumcised, were admitted to ––––––––––––––––––––––––––– the outward privileges of the former, and to the membership of the latter. Such, as regards this admission was the manner of dealing with infants from the time CONTENTS of Abraham to that of Christ – a period of some two thousand years. Such, as The Token of the Covenant, etc. 1│Obituary 24 The Sword of the Spirit. 9│The Assembly's Letter to our Soldiers 26 regards this admission was the manner of dealing with them during Christ's The Latter Day Saints 13│Free Churchmen Role 27 personal ministry and to the very close of the Mosaic dispensation. -
Dissertation Final Submission Andy Hillhouse
TOURING AS SOCIAL PRACTICE: TRANSNATIONAL FESTIVALS, PERSONALIZED NETWORKS, AND NEW FOLK MUSIC SENSIBILITIES by Andrew Neil Hillhouse A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Andrew Neil Hillhouse (2013) ABSTRACT Touring as Social Practice: Transnational Festivals, Personalized Networks, and New Folk Music Sensibilities Andrew Neil Hillhouse Doctor of Philosophy Graduate Department of Music University of Toronto 2013 The aim of this dissertation is to contribute to an understanding of the changing relationship between collectivist ideals and individualism within dispersed, transnational, and heterogeneous cultural spaces. I focus on musicians working in professional folk music, a field that has strong, historic associations with collectivism. This field consists of folk festivals, music camps, and other venues at which musicians from a range of countries, affiliated with broad labels such as ‘Celtic,’ ‘Nordic,’ ‘bluegrass,’ or ‘fiddle music,’ interact. Various collaborative connections emerge from such encounters, creating socio-musical networks that cross boundaries of genre, region, and nation. These interactions create a social space that has received little attention in ethnomusicology. While there is an emerging body of literature devoted to specific folk festivals in the context of globalization, few studies have examined the relationship between the transnational character of this circuit and the changing sensibilities, music, and social networks of particular musicians who make a living on it. To this end, I examine the career trajectories of three interrelated musicians who have worked in folk music: the late Canadian fiddler Oliver Schroer (1956-2008), the ii Irish flute player Nuala Kennedy, and the Italian organetto player Filippo Gambetta. -
The Devolution of the Shepherd Trumpet and Its Seminal
Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.