Concertina World #449 2011
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Melodic Identity and Tune Resemblance Karen E. Mcaulay
1 ABSTRACTS (grouped by session) Session 1: Melodic Identity and Tune Resemblance Karen E. McAulay (Royal Conservatoire of Scotland, Glasgow) ‘All the right notes, but not necessarily in the right order’*: Musical Resemblances over the Border The appealing Northumbrian pipe-tune, “I saw my love come passing by me”, appears in at least three nineteenth century sources, and again in Cock’s Tutor for the Northumbrian Half-Long Bagpipes. The latest two of these are shorter, whilst the first two elaborate the tune with variations. Nonetheless, the resemblances are clear; their kinship is indisputable. However, there are two much earlier appearances of similar tunes in publications north of the border. A century older, each has a different title, and although the shapes of these tunes are undeniably similar, they are certainly neither identical forerunners to one another, nor to “I saw my love”. Indeed, one source was linked in 1925 to a totally different tune. Notwithstanding this earlier identification, I dispute the similarity, and propose that there is some kind of link between “I saw my love” and her earlier Scottish cousins. Whilst the Tune Archive enabled me to trace the iterations of the Border tunes, it failed to flag up these Scottish tunes as potential relatives, partly because their rhythmic notation means the Theme Code index failed to pick up the same strong beats. I propose to demonstrate the methodology I have adopted to attempt to prove my hypothesis. If I’m right, it suggests that before I saw my love come passing by me, she had enjoyed a bit of a shadowy Celtic past. -
Country Dance and Song and Society of America
I ,I , ) COUNTRY DANCE 1975 Number 7 Published by The Country Dance and Song AND Society of America EDITOR J. Michael Stimson SONG COUNTRY DANCE AND SONG is published annually. Subscription is by membership in the Society. Members also receive occasional newsletters. Annual dues are $8 . 00 . Libraries, Educational Organi zations, and Undergraduates, , $5.00. Please send inquiries to: Country Dance and Song Society, 55 Christopher Street, New York, NY 10014. We are always glad to receive articles for publication in this magazine dealing with the past, present or future of traditional dance and music in England and America, or on related topics . PHOTO CREDITS P. 5 w. Fisher Cassie P. 12 (bottom) Suzanne Szasz P. 26 William Garbus P. 27 William Garb us P. 28 William Garb us CONTENTS AN INTERVIEW WITH MAY GADD 4 TRADITION, CHANGE AND THE SOCIETY Genevieve Shimer ........... 9 SQUARE DANCING AT MARYLAND LINE Robert Dalsemer. 15 Copyright€>1975 by Country Dance Society, Inc. SONGFEST AND SLUGFEST: Traditional Ballads and American Revolutionary Propaganda Estelle B. Wade. 20 , CDSS REVISITS COLONIAL ERA • . • . • . • . • • . 26 TWO DANCES FROM THE REVOLUTIONARY ERA Researched by James Morrison ..................••. 29 CHEERILY AND MERRILLY: Our Music Director's Way with Singing Games and Children Joan Carr.............. 31 STAFF AND LEADERS'CONFERENCE Marshall Barron .•.......... 35 SALES James Morrison ............. 40 CDSS CENTERS .•......•.............•••.. 49 A: Well, they didn't have bands so much. Cecil Sharp was a mar velous piano player, AN INTERVIEW WITH and he had a wonder ful violinist, Elsie Avril, who played with him right from the be MAY GADD... ginning. We had just piano and violin in those days for all but the big theater This is the first part of an interview by Joseph Hickerson, performances. -
Music in the Northern Woods: an Archaeological Exploration of Musical Instrument Remains
Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Reports 2018 Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains Matthew Durocher Michigan Technological University, [email protected] Copyright 2018 Matthew Durocher Recommended Citation Durocher, Matthew, "Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains", Open Access Master's Thesis, Michigan Technological University, 2018. https://doi.org/10.37099/mtu.dc.etdr/575 Follow this and additional works at: https://digitalcommons.mtu.edu/etdr Part of the Archaeological Anthropology Commons, Ethnomusicology Commons, and the Musicology Commons MUSIC IN THE NORTHERN WOODS: AN ARCHAEOLOGICAL EXPLORATION OF MUSICAL INSTRUMENT REMAINS By Matthew J Durocher A THESIS Submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In Industrial Archaeology MICHIGAN TECHNOLOGICAL UNIVERSITY 2018 © 2018 Matthew J Durocher This thesis has been approved in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE in Industrial Archaeology. Department of Social Sciences Thesis Advisor: Dr. LouAnn Wurst Committee Member: Dr. Steven A. Walton Committee Member: M. Bartley Seigel Department Chair: Dr. Hugh Gorman Table of Contents List of Figures………………………………………………………………………….v List of Tables…………………………………………………………………………vii Acknowledgments........................................................................viii Abstract………………………………………………………………………………….x 1. There was music…………………………………………………………………..1 1.1. Enter Coalwood…………………………………………………………………………….3 1.2. A prelude……………………………………………………………………………………..7 2. Fresh Water, Ore, and Lumber……………………………………………10 2.1. Early logging and music in the Upper Peninsula………………………….…14 2.2. Cleveland Cliffs Iron Mining Company………………………………………….16 2.3. Coalwood: 1901-1912…………………………………………………………………..18 2.4. Conclusion…………………………………………………………………………………26 3. The Sounds of a Place.………………………………………………………..28 3.1. -
Indoors Dapper's Delight
Karnatic Lab Records, Postbox 2595, 1000 CN Amsterdam Dapper’s Delight Indoors [email protected], www.karnaticlabrecords.com Pagina 24 Pagina 1 0003_PRO_BK4P, booklet 4p 242x120, © Promese 05-2009 WITH SPECIAL THANKS TO: CAMILLA, ANKE, ROY, LOTTA, MARCO, RAPHAELA AND PASCAL FOR BABYSITTING DUTIES KRIS AND THOMAS FOR THEIR HELPFUL CRITICISM AND LAST MINUTE TWEAKING LIKEWISE PETER, FOR KAA THE SNAKE AND HIS UNFLINCHING LOYALTY MALCOLM FOR GARDEN GREEN AND FOR THE ERICA IN 1976 JONATHAN FOR EDITING THE TEXTS MARK FOR HELP WITH TEXTS, SOURCES AND HIS CONTINUOUS ENCOURAGEMENT AND ENTHUSIASM JOHN FOR HELP SEARCHING FOR THE ELUSIVE BOUNCE STEPHANIE FOR TRYING TO FIND THE VOICE JÜRGEN FOR HIS WONDERFUL INSTRU- MENT "SOOTY" CHRIS FOR THE NICEST TUCK SHOP IN THE WORLD NED, GIJS AND THE REST OF THE BACKROOM STAFF AT KARNATIC LAB RECORDS CARST FOR HELP WITH THE COVER PHOTO- GRAPHS ROBIN, ANNABEL AND MICHA FOR DOING ALL THE WORK OUR FAMILIES AND FRIENDS FOR THEIR UNDERSTANDING AND ANYBODY WHO STOPPED TO LISTEN ON THE STREET FINALLY TO RUFUS FOR PUTTING UP WITH US SO COURAGEOUSLY Susanna Borsch recorder & voice Dapper’s Delight Adrian Brown anglo concertina & voice programme notes and artwork: Dapper’s Delight; booklet photographs: Robin Bigwood 17th century broadsides reproduced with kind permission of the Pepys library www.dappersdelight.com Pagina 2 Pagina 23 0003_PRO_BK4P, booklet 4p 242x120, © Promese 05-2009 Dapper’s Delight is a duo formed to ex- comprising an unusual combination of plore the dance music and songs of the period 1550 – 1750, particularly pieces to perform composed pieces drawing on found in both high and low cultural sources. -
English Folk Traditions and Changing Perceptions About Black People in England
Trish Bater 080207052 ‘Blacking Up’: English Folk Traditions and Changing Perceptions about Black People in England Submitted for the degree of Master of Philosophy by Patricia Bater National Centre for English Cultural Tradition March 2013 This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. Trish Bater 080207052 2 Abstract This thesis investigates the custom of white people blacking their faces and its continuation at a time when society is increasingly aware of accusations of racism. To provide a context, an overview of the long history of black people in England is offered, and issues about black stereotypes, including how ‘blackness’ has been perceived and represented, are considered. The historical use of blackface in England in various situations, including entertainment, social disorder, and tradition, is described in some detail. It is found that nowadays the practice has largely been rejected, but continues in folk activities, notably in some dance styles and in the performance of traditional (folk) drama. Research conducted through participant observation, interview, case study, and examination of web-based resources, drawing on my long familiarity with the folk world, found that participants overwhelmingly believe that blackface is a part of the tradition they are following and is connected to its past use as a disguise. However, although all are aware of the sensitivity of the subject, some performers are fiercely defensive of blackface, while others now question its application and amend their ‘disguise’ in different ways. -
Driving the Bow Fiddle and Dance Studies from Around the North Atlantic 2
DRIVING THE BOW fiddle and dance studies from around the north atlantic 2 edited by ian russell and mary anne alburger Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 The Elphinstone Institute Occasional Publications 6 General Editor – Ian Russell 1. A�er Columba – A�er Calvin: Community and Identity in the Religious Traditions of North East Scotland edited by James Porter 2. The Bedesman and the Hodbearer: The Epistolary Friendship of Francis James Child and William Walker edited by Mary Ellen Brown 3. Folk Song: Tradition, Revival, and Re-Creation edited by Ian Russell and David Atkinson 4. North-East Identities and Sco�ish Schooling The Relationship of the Sco�ish Educational System to the Culture of North-East Scotland edited by David Northcro� 5. Play It Like It Is Fiddle and Dance Studies from around the North Atlantic edited by Ian Russell and Mary Anne Alburger 6. Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 edited by Ian Russell and Mary Anne Alburger Elphinstone Institute Occasional Publications is a peer-reviewed series of scholarly works in ethnology and folklore. The Elphinstone Institute at the University of Aberdeen was established in 1995 to study, conserve, and promote the culture of North-East and Northern Scotland. Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger The Elphinstone Institute University of Aberdeen 2008 Copyright © 2008 the Elphinstone Institute, University of Aberdeen, and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, University of Aberdeen, copyright in individual contributions remains with the contributors. -
Paradigmatic of Folk Music Tradition?
‘Fiddlers’ Tunebooks’ - Vernacular Instrumental Manuscript Sources 1860-c1880: Paradigmatic of Folk Music Tradition? By: Rebecca Emma Dellow A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music June 2018 2 Abstract Fiddlers’ Tunebooks are handwritten manuscript books preserving remnants of a largely amateur, monophonic, instrumental practice. These sources are vastly under- explored academically, reflecting a wider omission in scholarship of instrumental music participated in by ‘ordinary’ people in nineteenth-century England. The tunebooks generate interest amongst current folk music enthusiasts, and as such can be subject to a “burden of expectation”,1 in the belief that they represent folk music tradition. Yet both the concepts of tradition and folk music are problematic. By considering folk music from both an inherited perspective and a modern scholarly interpretation, this thesis examines the place of the tunebooks in notions of English folk music tradition. A historical musicological methodology is applied to three post-1850 case-study manuscripts drawing specifically on source studies, archival research and quantitative analysis. The study explores compilers’ demographic traits and examines content, establishing the existence of a heterogeneous repertoire copied from contemporary textual sources directly into the tunebooks. This raises important questions regarding the role played by publishers and the concept of continuous survival in notions of tradition. A significant finding reveals the interaction between aural and literate practices, having important implications in the inward and outward transmission and in wider historical application. The function of both the manuscripts and the musical practice is explored and the compilers’ acquisition of skill and sources is examined. -
Border Pipes
IN THIS ISSUE Letters(3): Mouth Blown Pipes(4): North Hero 2003(7): Summer School 2003(8): Hamish Moore Concert(12): Interview - Robbie Greensitt Ann Sessoms(15): Dance to Your Daddy tune (23): Washingtons march(24): "Bagpipes and Border Pipers"(26): Jackie Latin(32): Harmonic Proportion(34): Collogue 2003(38): Reviews(52): Letters appropriate key were again made. From Peter Aitchison Sets pitched in D with Highland Dunbar, Scotland fingering had actually been made in the mid-19 t century by the Glasgow Looking back into the Common Stock maker William Gunn. Sets fitted with issue of Dec 2002 [Vol 17 No.2], practice chanters exist but they suffer Nigel Bridges writes about the from the poor intonation and tone of strathspey "The Gruagach" by P/M the miniature pipes. D.R.MacLeennan on page three. On In my opinion the revival of any page fourteen Iain Maclnnes mentions instrument or tradition depends upon D.R.MacLellan. Maybe it should be several factors. There must be an D.R.MacLennan? P.S. I knew him. interest or demand for the particular instrument, there must be music appropriate to the instrument, and From Robbie Greensitt there must be instruments available. Monkseaton Northumberland This implies that there must be EDITORIAL hit the streets and, judging by the [abridged - Ed] makers, players and music publishers, The cover picture of a musette was orders and comments, has been well I was surprised by Colin Ross and as well as other enthusiasts like purchasd by Ian Mackay in Bombay! The received. assertion in the June issue of Common historians, working together to promote the revival. -
JAMES HALKERSTON (Dundee, Ca L896 - )
1 JAMES HALKERSTON (Dundee, ca l896 - ). Harmonica solo Recorded Megginch Castle, Errol, Perth, 1933/34 A- Harmonica selections – part 1 [unknown Scots dance tunes] Great Scott A-556 A- Harmonica selections – part 2 [Bluebells of Scotland] Great Scott A-556 ROBIN HALL Robin Hall (Edinburgh, 1936 – 1998); Jimmie MacGregor (Glasgow, 1930 - ) ”Robin Hall, vocal and own guitar” Recorded London, ca Wednesday, 22nd. October 1958 CP-L-M20-A MMP-85 The ballad of Johnny Ramensky (Norman Buchan) Collector Records JDS-1(7”.45) CP-L-M6-F MMP-86 The day we went tae Rothesay (trad) Collector Records JDS-1(7”.45) The bleacher lassie o’ Kelvinhaugh (trad) Collector Records JES-2(EP) Ludgin’ wi’ big Aggie (trad) Collector Records JES-3(EP) Coulter’s candy (trad) Collector Records JES-3(EP) Skippin’ barfit thro’ the heather ( - ) Collector Records JES-6(EP) NOTE: Johnnie Ramensky (Glenboig, 1905 – Perth 1972) was a career criminal and prison escapee. During the 1939-45 war he was in the commandos and was awarded the Military Medal. “Robin Hall, vocal and own guitar” Recorded London, ca Tuesday, 28th. October 1958 Ye’re ma wee gallus bloke nae mair (trad) Collector Records JES-3(EP) Songs of Robert Burns (Robert Burns; trad) Collector Records JES-3(EP) Meg’ o’ the hill (trad) Collector Records JES-7(EP) MacPherson’s rant (James MacPherson) Collector Records JES-7(EP) “Robin Hall & Jimmie MacGregor” vocal and guitar Recorded London, ca l959 The Dundee weaver (trad) Collector Records JDS-2(7”x45), JES-3(EP) The wee magic stane (trad) Collector Records JDS-2(7”x45) Robin Hall (vocal, guitar); Jimmy MacGregor (vocal, guitar, mandolin) Recorded London, Monday, 26th. -
Spring Weekend: May. 28-31
**Updated version as of 5/17/10 -- see also calendar listings on p.9 ** Folk Music Society of New York, Inc. May 2010 vol 45, No.5 April 30, Fri: Brian Peters Concert: 7:30pm 96 St & B’way-see p.2 May 1 Sat Brian Peters Ballad Wkshp: 11am-1pm, Upper West Side 2 Sun Sea Music Concert; Don Sineti and Steve Roys + NY Packet; 3 pm at South Street 5 Wed Folk Open Sing 7 pm in Brooklyn 10 Mon FMSNY Exec. Board Meeting; 7:15 pm location tba 15 Sat Chantey Sing at Seamen’s Church Institute, 8pm. 15 Sat Old-Time Jamming Workshop & Jam, 2:30 – 4:30 PM, Park Slope, Brooklyn. 16 Sun Sacred Harp Singing location to be announced 16 Sun Singing Party in Sheepshead Bay, Brooklyn; 2-5pm 21-23: Brooklyn Folk Fest at Jalopy Theatre, Brooklyn. 28-31 Spring Folk Music Weekend at Kislak Adult Center, Lake Como, PA -- see flyer in centerfold June 1 Tue Sea Music Concert-Tribute to Charlie O’Hegarty; NY Packet, David Jones, and others: 6 pm at South Street 2 Wed Folk Open Sing 7 pm in Brooklyn 3 Thur Newsletter Mailing, 7pm in Jackson Heights (Queens) 8 Tue Sea Music Concert; Peter Kasin and Richard Adrianowicz + NY Packet; 6 pm at South Street 14 Mon FMSNY Exec. Board Meeting; 7:15pm location tba 15 Tue Sea Music Concert; tba + NY Packet; 6 pm at South Street 18 Fri Nordet: a quartet from Brittany singing music of the sea; 8 pm at OSA 220 E. 23rd Street, suite 707 19 Sat Chantey Sing at Seamen’s Church Institute, 8pm. -
CW454 March Cover and Index
#454 2013 CONCERTINA WORLD Magazine of the International Concertina Association since 1952 Information/interviews/techniques/events separate music supplement Editor Music Supplement and PICA: 1 Editorial Jon McNamara, tel: 01279 656664 2 Annual General Meeting 17, Nursery Road, Bishops Stortford, Herts, CM23 3HJ 9 Concertina Tunings Email: [email protected] 10 Instant ceilidh, review 11 Concertina Cruinniú Librarian/Archivist: Jeremy Hague 22 internet links tunebooks Email: [email protected] 23 Concertina Ergonmics 29 Playing by ear/reading music Concertina World Editor: Pauline de Snoo 34 Concertinas at Witney Tel: 00 31 73 54 79837 35 Story “Love amidst global Goudenregenstraat 5, warming” 5482 CW Schijndel, Netherlands Email: [email protected] or 39 About the author: Bill Finnegan [email protected] 40 Concertina for sale 40 Tutor Hayden/Wiki? Secretary: Roger Gawley, Tel:0191 384 4764 17 Dryburn Road, Durham DH1 5AJ Email: [email protected] Contributors: Membership secretary: Martin Henshaw Oak End, 23A Bedford Road Pauline de Snoo, Peter Dyson, Northill, Biggleswade, Beds. SG18 9AH Roger Gawley, Bill Finnegan, Tel. 01767 627 566 Jeremy Hague, Martin Henshaw, [email protected] Brian Hayden, Paul McCann, David Palmer, Göran Rahm, Mike Wild, Treasurer: Dan Worrall (photos for Concertina Paul McCann, [email protected] Cruinniú).. Other committee members: Suzanne Higgins; Gill Noppen-Spacie; Michel van der Meiren, website; Carolyn Wade. Subscriptions run from 1 January to 31 December. Membership Subscriptions due on 1 January of the year. Membership UK 20 GBP, Europe 23 GBP, USA, 26 GBP. For more information see website www.concertina.org, also Paypal Payments for non UK Members. -
Old English Instruments of Music, Their History and Character
OLD ENGLISH INSTRUMENTS OF MUSIC MUSIC LIBRARY Qr3 University of GaiiforniB , B«rk«toy /' LIBRARIAN'S FUft'O Printed in Great Britain TO THE MASTER WARDENS, COURT OF ASSISTANTS AND LIVERY OF THE WORSHIPFUL COMPANY OF MUSICIANS Floruit—Floret—Florebit 214917 PREFACE WHEN the General Editor asked me to contribute a volume on Musical Instruments to the series of The Antiquary's Books I found myself confronted by two great difficulties : there was, first of all, the vast extent of the subject, of which mere portions have already called forth large and important works ; and then there was the question whether it would be possible to put in a popular form material which should also satisfy the in- quiries of the student and archaeologist. The latter re- quirement will explain the admission of much which might otherwise be thought unnecessary ; for instance, to the ordinary reader it may seem a needless task to describe the compass, pitch and tunings of these old- world instruments, and yet there are no details about which I have been so frequently asked, especially by those who happen to possess musical relics and desire to hear once more the voices of the past. Having a pro- found sympathy with such desire, I hope they will find that, although the introduction of the Staff Notation into the text has been avoided, these interesting particulars can be easily ascertained by comparing the signs used with the key given in the Appendix. In order to deal at all adequately with so extensive a subject, it has been considered advisable to restrict it to a description of the instruments used in England and in other parts of the United Kingdom so far as they have viii OLD ENGLISH INSTRUMENTS OF MUSIC shared our old English life ; and it was thought that the end of the eighteenth century, or shortly after, would form a suitable point at which to close their history.