5EHC 2020 Awards Recipients
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Beethoven and Banjos - an Annual Musical Celebration for the UP
Beethoven and Banjos - An Annual Musical Celebration for the UP Beethoven and Banjos 2018 festival is bringing Nordic folk music and some very unique instruments to the Finnish American Heritage Center in Hancock, Michigan. Along with the musicians from Decoda (Carnegie Hall’s resident chamber group) we are presenting Norwegian Hardanger fiddler Guro Kvifte Nesheim and Swedish Nyckelharpist Anna Gustavsson. Guro Kvifte Nesheim grew up in Oslo, Norway, and started playing the Hardanger fiddle when she was seven years old. She has learned to play the traditional music of Norway from many great Hardanger fiddle players and has received prizes for her playing in national competitions for folk music. In 2013 she began her folk music education in Sweden at the Academy of Music and Drama in Gothenburg. Guro is composing a lot of music, and has a great interest and love for the old music traditions of Norway and Sweden. In 2011 she went to the world music camp Ethno and was bit by the “Ethno-bug”. Since then she has attended many Ethno Camps as a participant and leader, and setup Ethno Norway with a team of fellow musicians. In spring 2015 she worked at the Opera House of Gothenburg with the dance piece “Shadowland”. The Hardanger fiddle is a traditional instrument from Norway. It is called the Hardanger Fiddle because the oldest known Hardanger Fiddle, made in 1651, was found in the area Hardanger. The instrument has beautiful decorations, traditional rose painting, mother-of-pearl inlays and often a lion’s head. The main characteristic of the Hardanger Fiddle is the sympathetic strings that makes the sound very special – it’s like an old version of a speaker that amplifies the sound. -
1 Sotholms Och Svartlösa Härader
1 SOTHOLMS OCH SVARTLÖSA HÄRADER INNEHÅLL 2 SVARTLÖSA HÄRAD 26 ÖSMODRÄKTEN 3 PÅ BANAN 28 POLONESSEBOKEN 4 SPELMÄN 30 VEM ÄR SOM EJ... )0 DANSEN PÅ SÖDERTÖRN 32 SKIVSPALTEN 18 JAG MINNS 34 HARPOLEK 20 SÄGNER OCH MINNEN 36 SORUNDAVISAN 22 HANDLAREVISAN Omdagsbild: Byspelmannen, målad av den tyske 23 DRÄKTEN PÅ SÖDERTÖRN konstmren Hans Thoma, 1839- 1924. 24 SORUNDADRÄKTEN " '. .h %5z"f*:%:?Z? ' ""'= " " """' "É=..,, ~ "') L' . """ " ', ~j1K q' . , ,, ',. U · " "r"^ pgc. " ,\,\ b - h1· a»,' X' " am v""' ! °""'"'""" r, "=: " " - ' "::0 T' "": ±%v"4 '&" m ""' "' SY . ·:%, ·- -' ' " '" ·x"f;" '"3' " "L. .7yj|::c"^X+"m "" " ·P :k -'e ., ==9"2" ;6 ¢. ' "" , "t?:,:k ' ' "' 'l" ,'" " " W r' " QL"+:S\ja, " :" l V ,/i ,b ,, "¶%1 p -J' l" · t, · l. tk. "", ' n rtarNm. .,~ b- " 0 bm mb n g . · · K ' 0m· vf . V h~~m~' .·· 2?'' b « "brgib, 4 . .~,._+.:' " "" "".. cl Rm"m "' :__ T " " r ' . 0ybW +· M0~ f , 0m. : Q SÖRMLAN%LÅTEN dktribue ra8 till medlemmarna l Södermanland8 SpelmanMörbund och Sörmländska Ungdommngen. Utomstående kan prenumerera på Spelman8förbundet8 cirkulär (Inkl. SÖRMLANDS- LÄTEN) för ett år genom att 8åtta in kr IS: -- på postgiro 12 24 74 - O, adrem Södermanland8 Spelmam- förbund. Skriv "Cfrkulårprenumeration" på Ullongen! Upplaga: I. 750 ex Utkommer 2 gånger per år 2 GIOVANNA BASSI - PREMIÄRDANSÖS OCH SVARTLÖSA HÄRAD SÖRMLÄNDSK GODSÄGARINNA Marianne Strandberg Giovanna var dotter till den italienska hovstdhnästa- ren Stefano Bassi och hans franska hustru Angelique. Svartlösa hdrod har fött sitt namn efter tingsstCMet Hon föddes troligen 13 juni 1762 i Paris. Hon kom till SvartakSt (SvartalC$CSt) eller SvanlCSten (löt, Im troli- Sverige 1783 tilkammans med sin bror och omtalldes gen äng) där ting med Övm Tör (norra Södertöm) Nils som ballerina vid teatern samma år. -
The Dissemination of the Nyckelharpa
The Dissemination of the Nyckelharpa The Ethnic and the non-Ethnic Ways Gunnar Ternhag & Mathias Boström, Dalarnas Forskningsråd, Falun, Sweden The Ethnic and the non-ethnic Many traditional instruments are strongly linked to ethnic concepts. These connotations are often well known to musicians and listeners both inside and outside ethnic communities, although they are valued and interpreted differently. Some instruments are regarded as typical of certain cultures; you could even call them emblematic. This is evident when it comes to national cultures. The Finnish kantele and the Norwegian hardanger fiddle are typical examples of this (cf. Torp 1998). Other instruments have ethnic connotations without being symbols for specific cultures. The djembe drum, for instance, is mostly considered as simply “African” in the Western world. These and many similar instruments are more or less accessible to everyone today. The same goes for music and playing styles. Record stores, festivals, workshops and the Internet can easily provide everyone interested with inspiring products. A musician who wants to pick up a traditional musical instrument from a different culture than his or her own has to choose. He or she may try to learn the original music and playing style associated with the instrument; the so-called “tradition.” We will call this the ethnic way of approaching the instrument. The beginner wants to learn the instrument and its music in the same way as if he or she were living in the original community of the instrument. In this way many musicians in Sweden and other similar countries have learned how to play high- land-pipes or bouzouki—and have become Scots or Greeks in their musicianship. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
TOCN0004DIGIBKLT.Pdf
NORTHERN DANCES: FOLK MUSIC FROM SCANDINAVIA AND ESTONIA Gunnar Idenstam You are now entering our world of epic folk music from around the Baltic Sea, played on a large church organ and the nyckelharpa, the keyed Swedish fiddle, in a recording made in tribute to the new organ in the Domkirke (Cathedral) in Kristiansand in Norway. The organ was constructed in 2013 by the German company Klais, which has created an impressive and colourful instrument with a large palette of different sounds, from the most delicate and poetic to the most majestic and festive – a palette that adds space, character, volume and atmosphere to the original folk tunes. The nyckelharpa, a traditional folk instrument, has its origins in the sixteenth century, and its fragile, Baroque-like sound is happily embraced by the delicate solo stops – for example, the ‘woodwind’, or the bells, of the organ – or it can be carried, like an eagle flying over a majestic landscape, with deep forests and high mountains, by a powerful northern wind. The realm of folk dance is a fascinating soundscape of irregular pulse, ostinato- like melodic figures and improvised sections. The melodic and rhythmic variations they show are equally rich, both in the musical tradition itself and in the traditions of the hundreds of different types of dances that make it up. We have chosen folk tunes that are, in a more profound sense, majestic, epic, sacred, elegant, wild, delightful or meditative. The arrangements are not written down, but are more or less improvised, according to these characters. Gunnar Idenstam/Erik Rydvall 1 Northern Dances This is music created in the moment, introducing the mighty bells of the organ. -
The Roots Report: Beat the Heat with Cool Shows
The Roots Report: Beat the Heat with Cool Shows Okee dokee folks … It’s summer. I would be remiss if I didn’t reiterate my feelings about it. I hate summer. I am sorry. I know many of you folks like summer. I am not a fan of the heat and humidity. Fortunately, we are more than halfway through. Music makes the summer easier to deal with – for me anyway. There are still a lot of summer shows to catch while the weather is warm, though sometimes “warm” can be a bit of an understatement. Onward. The Downtown Sundown Series The Downtown Sundown Series has been steadily gaining a solid audience, mostly by word of mouth. Every show brings more folks who are amazed by the talent of the performers and the beauty of Roger Williams National Memorial. Now in its third year, this music series brings free music into downtown Providence two Saturdays per month. Already this season, performers such as WS Monroe, Billy Mitchell, Malyssa Bellarosa, Kala Farnham, Mark Cutler, Heather Rose, Tracie Potochnik, Bob Kendall, Jesse Liam and Jack Gauthier, and others have graced the park stage with their wonderful music. The middle lawn at the Memorial is the perfect spot for a sundown show. The music starts at 7 pm and continues until 9:30 pm, and four performers are featured at each show. The audience members sit back in lawn chairs, lie on blankets or directly on the grass and enjoy some of the best singer- songwriters from the area. Picnickers are welcomed and encouraged. -
Tradition and Innovation in Irish Instrumental Folk Music
TRADITION AND INNOVATION IN IRISH INSTRUMENTAL FOLK MUSIC by ANDREW NEIL fflLLHOUSE B.Mus., The University of British Columbia, 1990 B.Ed., The University of British Columbia, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2005 © Andrew Neil Hillhouse, 2005 11 ABSTRACT In the late twentieth century, many new melodies were composed in the genre of traditional Irish instrumental music. In the oral tradition of this music, these new tunes go through a selection process, ultimately decided on by a large, transnational, and loosely connected community of musicians, before entering the common-practice repertoire. This thesis examines a representative group of tunes that are being accepted into the common- practice repertoire, and through analysis of motivic structure, harmony, mode and other elements, identifies the shifting boundaries of traditional music. Through an identification of these boundaries, observations can be made on the changing tastes of the people playing Irish music today. Chapter One both establishes the historical and contemporary context for the study of Irish traditional music, and reviews literature on the melodic analysis of Irish traditional music, particularly regarding the concept of "tune-families". Chapter Two offers an analysis of traditional tunes in the common-practice repertoire, in order to establish an analytical means for identifying traditional tune structure. Chapter Three is an analysis of five tunes that have entered the common-practice repertoire since 1980. This analysis utilizes the techniques introduced in Chapter Two, and discusses the idea of the melodic "hook", the memorable element that is necessary for a tune to become popular. -
Trollfågeln the Magic Bird
EMILIA AMPER Trollfågeln The Magic Bird BIS-2013 2013_f-b.indd 1 2012-10-02 11.28 Trollfågeln 1. Till Maria 5'00 2. G-mollpolska efter Anders Gustaf Jernberg 3'25 3. Ut i mörka natten 4'55 4. Isadoras land 3'50 5. Trollfuglen 2'25 6. Polska fra Hoffsmyran 4'02 7. Herr Lager och skön fager 3'08 8. Brännvinslåt från Torsås 2'40 9. Pigopolskan / Den glömda polskan 5'08 10. När som flickorna de gifta sig 4'05 11. Kapad 4'44 12. Bredals Näckapolska 3'01 13. Galatea Creek 3'19 14. Vals från Valsebo 8'56 TT: 59'42 Emilia Amper nyckelharpa, sång Johan Hedin nyckelharpa Anders Löfberg cello Dan Svensson slagverk, gitarr, sång Olle Linder slagverk, gitarr Helge Andreas Norbakken slagverk Stråkar ur TrondheimSolistene: Johannes Rusten och Daniel Turcina violin Frøydis Tøsse viola, Marit Aspaas cello Rolf Hoff Baltzersen kontrabas 2 Trollfågeln innehåller 14 spår som på många sätt illustrerar mig som person och mitt liv som musiker och kompositör. Här är musiken som jag brinner för, en brokig skara låtar där traditionella svenska polskor möter nykomponerad musik inspirerad av andra länders folk- musik, och av pop, rock och kammarmusik. Jag spelar och sjunger solo eller tillsammans med goda vänner från både folkmusik och klassiskt. Som 10-åring förälskade jag mig i nyckelharpan vid första ögonkastet! Barndomens direkta glädje av instrument och melodier övergick efterhand i ett växande intresse för folkmusiken som genre. Jag mötte musik och människor från hela världen, och för mig var det liksom samma språk vi alla talade, ett språk där kopplingen mellan musik och dans är direkt och självklar. -
T of À1 Radio
ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No. -
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. -
Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström
Online version of Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström Stockholm, Svenskt visarkiv, 2003 Publications issued by Svenskt visarkiv 18 Translated by Kristina Radford & Andrew Coultard Illustrations: Ann Ahlbom Sundqvist For additional material, go to http://old.visarkiv.se/online/online_mmm.html Contents Preface.................................................................................................. 9 AIMS, THEMES AND TERMS Aims, emes and Terms...................................................................... 13 Music as Objective and Means— Expression and Cause, · Assumptions and Questions, e Production of Difference ............................................................... 20 Class and Ethnicity, · From Similarity to Difference, · Expressive Forms and Aesthet- icisation, Visibility .............................................................................................. 27 Cultural Brand-naming, · Representative Symbols, Diversity and Multiculture ................................................................... 33 A Tradition of Liberal ought, · e Anthropological Concept of Culture and Post- modern Politics of Identity, · Confusion, Individuals, Groupings, Institutions ..................................................... 44 Individuals, · Groupings, · Institutions, Doers, Knowers, Makers ...................................................................... 50 Arenas ................................................................................................. -
Arts Council Grants City List
Attachment to media release SOUTH DAKOTA ARTS COUNCIL FISCAL YEAR 2020 GRANT AWARDS At its spring meeting, the South Dakota Arts Council announced initiative and special project funding as well as grant awards totaling nearly $1.36 million to non-profit organizations, schools, and individual artists for arts projects during Fiscal Year 2020, beginning July 1, 2019, and ending June 30, 2020. Grants were awarded in the following categories: Artist Fellowships: The Council awarded Artist Fellowships to four South Dakota artists of exceptional talent to recognize past artistic achievement, encourage future artistic growth, and fund specific activities. Artist Career Development Grants: The Council awarded 10 Artist Career Development Grants to provide financial support to emerging artists committed to advancing their work and careers as artists. Artist Collaboration Grants: The Council awarded two Artist Collaboration Grants, which provide funds for collaborations between at least two artists to advance their work and careers and benefit the state of South Dakota. Arts Challenge Grants: The Council awarded 33 Arts Challenge Grants to support the yearly activities of the state’s major arts institutions and community arts organizations. Artist in Schools & Communities Grants: The Council approved funding for approximately 204 weeks of Artists in Schools & Communities residencies, conducted by professional artists at schools and other nonprofit institutions throughout the state. Additional residency sites and sponsors will be added to this list while funds remain. Importation of Musicians Grants: The Council awarded two Importation of Musicians Grants, which provide matching funds to support importing musicians to enhance an orchestra’s performance season. Project Grants: The Council awarded 39 Project Grants, which provide matching funds to organizations and individual artists to support community-based arts activities.