The Pipe and Tabor
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The Mystery of Pipe Acoustics
The mystery of pipe acoustics FRANTIŠEK KUNDRACIK Comenius University in Bratislava, Faculty of Mathematics, Physics and Informatics, Department of Experimental Physics Introduction Students at school are not given a lot of information about sound formation in pipes. Explanation is reduced to the description of the standing sound wave in the pipe and importance of the sharp edge, which is struck by the airflow. The aim of this article is to answer in more detail three fundamental questions about the sound formation in pipes: 1. Why is the area around the edge so important and how exactly does a clear and continuous tone arise? 2. How can we influence a tone height by the force of blowing or by covering the end hole? 3. Why does the fujara have three holes and why are pipes with six holes also popular? 1. Formation of a continuous tone in a pipe Tone in a pipe arises because of the periodic reflection of pressure wave at the ends of the pipe. Unlike the reflection from the covered end, in case of the reflection from the open end (or from the end with a window) the wave reflects in anti-phase and part of it leaves the pipe. To get a continuous tone, we must constantly supply energy to the reflecting wave, just like we supply energy to a swing by pushing it. Unlike the swing where our reflexes are faster than its motion, the sound wave motion is too quick for our reflexes, which means that blowing air into the pipe has to be automated. -
Tom Dooley by Melissa Codd
Podcast Mini-Series: Tom Dooley by Melissa Codd An Introduction to Tom Dooley: A Murder Ballad Welcome to the first installment of a podcast mini series on the American folk song, “Tom Dooley.” Throughout the series we will explore how an oral tabloid turned into one of the most popular songs in 1958 by examining its story, recording history, and popular appeal. Along the way several complexities and tensions of the America folk tradition will be uncovered as the song’s relationship with the burgeoning music industry, authenticity, and humor will be discussed. Play: Tom Dooley melodic excerpt. Who is Tom Dooley? Born in 1844, in Wiles County, North Carolina, Tom Dooley was an Confederate solider who returned home after the Civil War to find himself in a love triangle than ended with murder. He was soon accused and condemned for the murder of Laura Foster. The murder and Dooley’s fate generated local buzz worthy news as it circulated through oral transmission in the surrounding areas of North Carolina and Tennessee. Play: Excerpt In late 19th century, local news often circulated as oral tabloids due to non- or semi-literate communities and the scarcity of printed news. Many sat on their porches, worked in fields, and socialized in parlors to hear news recited as musical performances. Similar to the oral transmission of ballads in Europe, America transformed the musical gossip practice in its own context in rural and isolated mountainous regions such as Appalachia. The practice of circulating news of deaths and murders gave birth the tradition of murder ballads. -
Duke Folk Festival Program 1968
DUKE FOLK FESTIVAL 8:00 p.in. -Indoor Stadium Friday and Saturday, March 15 and 16,1968 LEN (HANDLER W. FRANKLIN GEORGE HOLLOW RO(K STRING BAND Duke ED HUNT University ALAN JABB0UR INDOOR STADIUM FRANK 8. PRO[FITT, JR. BERNl{E REAGON R0BERSON SQUARE DANCERS PETE SEEGER FRANK WARMER riday and Saturday, DO( WATSON AND SON Mar(h 15-16, 1968 8:00 p.in. WORKSHOPS Saturday, March 16 -2:00 p.in. Traditional Folk: 4:00 p.in. Contemporary Folk Trends. (No Charge) Music Room East Duke Building TICKET INF.ORMATION I+ Friday, March 15 -$2.50 reserved and $2.00 general admission Saturday, March 16 ~ $1.50 general admission All tickets on sale at Page Box Office or write Box KM, Duke Station (enclose self-addressed stamped envelope) General admission tickets (both nights) also available at Becord Bar -Durham, Raleigh, Chapel Hill \°:;°trheedDBUYktehi:,evrefr°s:tmy'::uAdret:tcu°nTomn'ttee PETE SEEGEP actually needs no DUKE F.OLK F.ESTIVAL introduction. For the past twenty- three years he has been entertaining audiences with his uncommercial- ized version of traditional folk songs. Leaving Harvard before graduation, Folk songs are "songs with melodies tested by generations of he first tried art and journalism and singers, with words that hold all the meat of human life", as Pete then turned to folk music, to which he had been introduced in 1935 at Seeger puts it. America has been a land of vast and rapid changes, a folk festival in Asheville, N. C. It here many different cultures and traditions have rubbed shoulders was here that he met and fell in love and in new environments have evolved into distinctly American with the long-necked five-string ban- folk traditions. -
Fujarôčka Fujarôčka, Fujara
Fujarôčka,Fujarôčka , fujara Fujarôčka , fujara Fujara manual – basic playing handbook Výroba fujár a pastierskych píš ťal Jozef Mikulášek www.fujary.sk Nitrianska 13 920 01 Hlohovec tel.: 00421/33/74 251 27 mobil: 0908 537 007 e-mail: [email protected] 1 Introduction In this manual, I’d like to briefly introduce this unique instrument and try to show you the basics of playing, while offering some helpful advice on how to take care of your “fujara” [fooyara] or sheperd’s overtone flute. It is aimed primarily at beginners, though more advanced fujara-players might find it useful, too . Description of the fujara The “fujara”, or sheperds’ overtone flute, is a unique Slovak folk wind instrument. It is lovingly called queen among folk instruments, not only in Slovakia. It is made mostly from wood of the common elder, or Sambucus negra . This hardy wood type has excellent musical resonancy. It is also filled with a soft resin, making drilling it easier. The fujara evolved from a three-hole bass flute that had been used in smaller form since the 12 th or 13 th century. Fujaras are made in different sizes, ranging from 85 cm to 172 cm, but they can sometimes be both smaller and larger. The tuning of a fujara depends on its size and the circumference of its drill hole, but it is generally so that smaller instruments are tuned higher, and larger instruments are tuned to a lower register. The fujara consists of two main parts – the main flute airpipe and smaller airpipe. They are connected by a leather belt or “švihe ľ”. -
The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition”
CFA MU 755, Boston University Steve Eulberg The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition” In a nation composed dominantly of immigrants, or people who are not “from” here, one can expect the cultural heritage in general, and the musical heritage in particular, to be based on the many strands of immigrant tradition. At some point, however, that which was brought from the old country begins to “belong” to the children of the immigrants, who pass this heritage on to their children. These strands are the woof that is woven into the warp of the new land—a process that continues until the tradition rightly belongs to the new setting as well. This is the case for the Applachian Mountain (or fretted, lap, plucked, strummed1) dulcimer. This instrument has been called by some “The Original American Folk Instrument.”2 Because other instruments have also laid claim to this appellation (most notably the banjo), this paper will explore whether or not it deserves such a name by describing the dulcimer, exploring its antecedent instruments, or “cousins”, tracing its construction and use by some people associated with the dulcimer, and examining samples of the music played on the instrument from 3 distinct periods of its use in the 20th century. What is the dulcimer? The Appalachian Mountain Dulcimer3 consists of a diatonic fretboard which is mounted on top of a soundbox. It is generally strung with three or four strings arranged in a pattern of three (with one pair of strings doubled and close together, to be played as one.) Its strings are strummed or plucked either with the fingers or a plectrum while the other hand is fretting the strings at different frets using either fingers or a wooden stick called a “noter.” The shape of the body or soundbox varies from hourglass, boat, diamond and lozenge, to teardrop and rectangular box style. -
Universiv Micrmlms Internationcil
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian, a Case Study a Dissertati
Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian, a Case Study A Dissertation Presented to The Faculty of the Education Department Carson-Newman University in Partial Fulfillment of the Requirements of the Degree Doctorate of Education By Nola Carrie Queen Isobe May 2016 Committee: Dr. Deborah Hayes, Dr. Mark Brock, and Dr. Patrick M. Taylor (Advisor) i ii Copyrighted by Nola Carrie Queen Isobe 2016 iii iv Abstract Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian a Case Study Nola Carrie Queen Isobe School of Education, Carson Newman College May 2016 Appalachian English is a dialect of American Standard English. It is spoken in much of North Carolina, Kentucky, Tennessee, Virginia, West Virginia, and Pennsylvania. There is concern that this dialect could follow the path of dedialectalization through cultural unacceptance, generational changes, and saturation of newcomers to the area. Society views speaking proper English, the standard dialect, the route for much of the rural areas inhabitants to take to achieve better jobs and find social acceptance and a successful life. Society’s social view of an uneducated people speaking the Appalachian dialect prompts teachers to change students’ dialect to help them ensure success in school and society at large. Could teachers in fact hold perceptions of students that are accelerating the dedialectalization of the Appalachian dialect? This study will shed some light on the perceptions that educators have in regards to dialects, specifically the Appalachian dialect. v List of Figures and Tables FIGURE 1: Appalachian Regional Commission Map of Appalachia……………………….. 1 FIGURE 2: Robert Delany Map of American English……………………………………… 140 FIGURE 3: Summary of Dialect Samples Graph………………………………..………….. -
Southern Appalachian Dulcimer Association January-March 2020 Newsletter
Southern Appalachian Dulcimer Association January-March 2020 Newsletter _______________________________________________________________________ President: Rob Angus: [email protected] (205) 987-7976 1st Vice President: Carolyn Rials: [email protected] Home (205) 491-1890 Cell (205) 602-8285 nd 2 Vice President: Bob Sutton: [email protected] Home (205) 668-0659 Cell (205) 919-2564. Treasurer: Brenda Hickey: [email protected] Cell (205) 616-4489 Secretary: Sherry Knight: [email protected] Cell (985) 516-2745 Festival Chair & Public Relations: Dawn Wilson: [email protected] Cell (205) 516-2854 Newsletter Editor: Ken Waites: [email protected] Cell (205) 601-2485 WEB PAGE: http://sdulcimer.wordpress.com Facebook page: Southern Appalachian - check out our Facebook page for pictures from our festival & gatherings, as well as meeting notices and links to events. If you cannot find our Facebook page, please send an e-mail to Dawn Wilson and she will try to friend you. SADA's You-Tube page: http://www.youtube.com/user/SouthernAppDulcimer MONTHLY MEETINGS SADA monthly meetings are held the second Saturday of the month, except for May and December, beginning at 11 AM. Jamming is followed by a business meeting, potluck lunch, and more jamming until 2 PM. Our location is Lake Crest Presbyterian Church, 560 Lake Crest Parkway in Hoover. Address for Lake Crest Presbyterian Church: 560 Lake Crest Parkway, Hoover, AL 35226 Directions to Lake Crest Presbyterian Church: Driving south from Trussville on I-459, take exit 10 at the Grove Shopping Center. Turn right onto John Hawkins Parkway (Alabama Highway 150) towards Bessemer. Drive 0.7 mile and turn right onto Lake Crest Drive. -
Appalachia and the Politics of Culture: Volume Seven
CONTEMPORARY APPALACHIA: IN SEARCH OF A USABLE PAST Proceedings of the Ninth Annual Appalachian Studies Conference Edited by: CARL ROSS Managing Editor: JANE SHOOK The Appalachian Consortium was a non-profit educational organization composed of institutions and agencies located in Southern Appalachia. From 1973 to 2004, its members published pioneering works in Appalachian studies documenting the history and cultural heritage of the region. The Appalachian Consortium Press was the first publisher devoted solely to the region and many of the works it published remain seminal in the field to this day. With funding from the Andrew W. Mellon Foundation and the National Endowment for the Humanities through the Humanities Open Book Program, Appalachian State University has published new paperback and open access digital editions of works from the Appalachian Consortium Press. www.collections.library.appstate.edu/appconsortiumbooks This work is licensed under a Creative Commons BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Original copyright © 1987 by the Appalachian Consortium Press. ISBN (pbk.: alk. Paper): 978-1-4696-3678-8 ISBN (ebook): 978-1-4696-3680-1 Distributed by the University of North Carolina Press www.uncpress.org Table of Contents INTRODUCTION, Carl Ross 1 KEYNOTE SPEAKER, Ron Ella 3 I. GENDER ROLES IN APPALACHIA Comfort in Confinement: Gender Roles in the Old Regular Baptist Church, Howard Dorgan 11 II. APPALACHIAN STUDIES STUDENTS Appalachian Studies And The Native Student: Resource Or Refuge?, Ricky Cox 21 Dialect Effects In Appalachian Students' Written Composition, Becky Eller 27 Old Catawbans and "Mountain Grill": The Appalachian in Thomas Wolfe's Short Stories, Sally Bruce 37 III. -
Playing Music for Morris Dancing
Playing Music for Morris Dancing Jeff Bigler Last updated: June 28, 2009 This document was featured in the December 2008 issue of the American Morris Newsletter. Copyright c 2008–2009 Jeff Bigler. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. This document may be downloaded via the internet from the address: http://www.jeffbigler.org/morris-music.pdf Contents Morris Music: A Brief History 1 Stepping into the Role of Morris Musician 2 Instruments 2 Percussion....................................... 3 What the Dancers Need 4 How the Dancers Respond 4 Tempo 5 StayingWiththeDancers .............................. 6 CuesthatAffectTempo ............................... 7 WhentheDancersareRushing . .. .. 7 WhentheDancersareDragging. 8 Transitions 9 Sticking 10 Style 10 Border......................................... 10 Cotswold ....................................... 11 Capers......................................... 11 Accents ........................................ 12 Modifying Tunes 12 Simplifications 13 Practices 14 Performances 15 Etiquette 16 Conclusions 17 Acknowledgements 17 Playing Music for Morris Dancing Jeff Bigler Morris Music: A Brief History Morris dancing is a form of English street performance folk dance. Morris dancing is always (or almost always) performed with live music. This means that musicians are an essential part of any morris team. If you are reading this document, it is probably because you are a musician (or potential musician) for a morris dance team. Good morris musicians are not always easy to find. In the words of Jinky Wells (1868– 1953), the great Bampton dancer and fiddler: . [My grandfather, George Wells] never had no trouble to get the dancers but the trouble was sixty, seventy years ago to get the piper or the fiddler—the musician. -
El Rocío: a Case Study of Music and Ritual in Andalucía
ABSTRACT Title of Document: EL ROCÍO: A CASE STUDY OF MUSIC AND RITUAL IN ANDALUCÍA W. Gerard Poole, Ph.D., 2007 Dissertation directed by: Dr. Carolina Robertson, Department of Ethnomusicology Music is central to the processional pilgrimage of El Rocío, which attracts hundreds of thousands of pilgrims to Andalusia, Spain, late each spring. The pilgrimage affords a unique view, in microcosm, of the relationships between music and ritual from both ritual-studies and ethnomusicological perspectives. Based on extensive fieldwork and other research, this dissertation explores the nexus of the Catholic ritual system in Andalusia, flamenco, and the specific music of El Rocío: the Sevillanas Rocieras. That nexus becomes clear through exploration of three particular features of the pilgrimage: (1) the devotional processions that generate a single, focused, collective emotion; (2) the Andalusian musical form called the palo; and (3) the informal musical gatherings called juergas, which take place nightly along the route. Analysis of structural and morphological relationships between ritual, music, and emotion yields surprising realizations about how these three elements come together as embodied aesthetics within a communitas to generate popular culture. Another important finding of this work is the necessity of placing, at the center of the inquiry, the religious experience—including the curious Andalusian phenomenon of the “chaotic” emotional procession and its role within the overall pilgrimage and ritual system. The dissertation concludes with two theoretical positions. The first addresses the process of “emotional structuring” and its role within the musical rituals of El Rocío and, by extension, Andalusia. The second advances a theory of ritual relations with potential application to ritual systems beyond Andalusia. -
Some Acoustic Characteristics of the Tin Whistle
Proceedings of the Institute of Acoustics SOME ACOUSTIC CHARACTERISTICS OF THE TIN WHISTLE POAL Davies ISVR, University of Southampton, Southampton, UK J Pinho ISVR, Southampton University, Southampton, UK EJ English ISVR, Southampton University, Southampton, UK 1 INTRODUCTION The sustained excitation of a tuned resonator by shed vorticity in a separating shear layer 1 or the whistling produced by the impingement of thin fluid jets on an edge 2 have both been exploited by the makers of musical instruments from time immemorial. Familiar examples include panpipes, recorders, flutes, organ flue pipes 13 , and so on. Over the centuries, the acquisition of the necessary knowledge and skill for their successful production must have been laboriously accomplished by much trial and error. A more physically explicit understanding of the basic controlling mechanisms began to emerge during the great upsurge in scientific observation and discovery from the mid19th century, as this was also accompanied by the relevant developments in physics, acoustics and fluid mechanics. These mechanisms can take several forms, depending on subtle differences in local and overall geometric detail and its relation to the magnitude, direction and distribution of any flow that is generating sound. One such form includes many examples of reverberant systems, where separating shear layers 3,4 provide the conditions where this coupled flow acoustic behaviour may occur. It is well known 14 that whenever a flow leaves a downstream facing edge it separates, forming a thin shear layer or vortex sheet. Such sheets, which involve high transverse velocity gradients, are very unstable and rapidly develop waves 14 .