Winter 2011-2012
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Folk Song in Cumbria: a Distinctive Regional
FOLK SONG IN CUMBRIA: A DISTINCTIVE REGIONAL REPERTOIRE? A dissertation submitted in partial fulfilment of the degree of Doctor of Philosophy by Susan Margaret Allan, MA (Lancaster), BEd (London) University of Lancaster, November 2016 ABSTRACT One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge for one region through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one. -
Steve Harley Lee Nelson
SPARKLING ARTS EVENTS IN THE HEART OF SHOREHAM SEPT – DEC 2014 BAKA BEYOND LUNASA THE INNER VISION ORCHESTRA STEVE HARLEY GEORGIE FAME LEE NELSON TOYAH WILLCOX CURVED AIR SHAKATAK ROPETACKLECENTRE.CO.UK SEPT 2014 ropetacklecentre.co.uk BOX OFFICE: 01273 464440 SEPT 2014 WELCOME TO ROPETACKLE From music, comedy, theatre, talks, family events, exhibitions, and much more, we’ve something for everybody to enjoy this autumn and winter. As a charitable trust staffed almost entirely by volunteers, nothing comes close to the friendly atmosphere, intimate performance space, and first- class programming that makes Ropetackle one of the South Coast’s most prominent and celebrated arts venues. We believe engagement with the arts is of vital importance to the wellbeing of both individuals and the community, and with such an exciting and eclectic programme ahead of us, we’ll let the events speak for themselves. See you at the bar! THUNKSHOP THURSDAY SUPPERS BOX OFFICE: 01273 464440 Our in-house cafe Thunkshop will be serving delicious pre-show suppers from 6pm before most of our Thursday events. Advance With support from booking is recommended but not essential, please contact Sarah on 07957 166092 for further details and to book. Seats are reserved for people dining. Look out for the Thunkshop icon throughout the programme or visit page 58 for the full list of pre-show meals. Programme design by Door 22 Creative www.door22.co.uk @ropetackleart Ropetackle Arts Centre Opera Rock Folk Family Blues Spoken Word Jazz 2 SEPT 2014 ropetacklecentre.co.uk BOX OFFICE: 01273 464440 SEPT 2014 SARA SPADE & THE NOISY BOYS Sara Spade & The Noisy Boys: World War One Centenary Concert She’s back! After a sell-out Ropetackle show in January, Sara Spade & The Noisy Boys return with flapper classics like ‘Five Foot Two, Eyes of Blue’ and other popular Charlestons, plus favourite Great War-era songs including Pack up your Troubles in your Old Kit Bag and Long Way to Tipperary. -
Rosemary Lane the Pentangle Magazine
Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album. -
Folk for Art's Sake: English Folk Music in the Mainstream Milieu
Volume 4 (2009) ISSN 1751-7788 Folk for Art’s Sake: English Folk Music in the Mainstream Milieu Simon Keegan-Phipps University of Sheffield The English folk arts are currently undergoing a considerable resurgence; 1 practices of folk music, dance and drama that explicitly identify themselves as English are the subjects of increasing public interest throughout England. The past five years have seen a manifold increase in the number of professional musical acts that foreground their Englishness; for the first time since the last 'revival period' of the 1950s and 60s, it is easier for folk music agents to secure bookings for these English acts in England than Scottish and Irish (Celtic) bands. Folk festivals in England are experiencing greatly increased popularity, and the profile of the genre has also grown substantially beyond the boundaries of the conventional 'folk scene' contexts: Seth Lakeman received a Mercury Music Awards nomination in 2006 for his album Kitty Jay; Jim Moray supported Will Young’s 2003 UK tour, and his album Sweet England appeared in the Independent’s ‘Cult Classics’ series in 2007; in 2003, the morris side Dogrose Morris appeared on the popular television music show Later with Jools Holland, accompanied by the high-profile fiddler, Eliza Carthy;1 and all-star festival-headliners Bellowhead appeared on the same show in 2006.2 However, the expansion in the profile and presence of English folk music has 2 not been confined to the realms of vernacular, popular culture: On 20 July 2008, BBC Radio 3 hosted the BBC Proms -
This Week at the Bridge WELCOME Sunday 21St January 9.00Am Morning Worship Jackie Adams 10.30Am Morning Worship Rev Ruth Wilson January 21St 2018 10.30Am Café Church
This week at The Bridge WELCOME Sunday 21st January 9.00am Morning Worship Jackie Adams 10.30am Morning Worship Rev Ruth Wilson January 21st 2018 10.30am Café Church Tuesday 23rd January 6.00pm Girls Brigade A warm welcome to our services today especially if this is your first visit to The Bridge. Wednesday 24th January 9.30am Holy Communion 7.45pm Everywoman’s Circle As Jesus walked beside the Sea of Galilee, he saw Simon and his brother Andrew casting a net into the lake, for Friday 26th January 6.00pm Boys Brigade they were fishermen. “Come, follow me, “Jesus said,” and I will make you fishers of men.” At once they left their nets and followed him. Sunday 28th January 9.00am Holy Communion Rev Glenn Reading Mark 1 vv16,17,18 10.30am Morning Worship Rev Ruth Wilson 10.30am Messy Café Church Exciting News: Some members of our congregations met recently to start 6.00pm Farewell service for Deacon Gwynn thinking about the Church Without Walls Mission Project. It was a good Bamford at Bromsgrove meeting and lots of ideas were shared, and we’ll be feeding back some of those ideas very soon. At the heart of what we discussed was, of course, our community and the commitment we have, as a church, to our Music for 21 January 2018 neighbours. Out of this came the suggestion that we should go on a local Organ A Legend Tchaikovsky Prayer Walk – everyone agreed it was a good idea. St Paul reminds us that we are to “pray without ceasing”, and since walking is something we do Prelude Dicks daily, surely part of praying without ceasing is praying while walking. -
Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters. -
Memories of Nick Drake (1969-70)
Counterculture Studies Volume 2 Issue 1 Article 18 2019 Memories of Nick Drake (1969-70) Ross Grainger [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Grainger, Ross, Memories of Nick Drake (1969-70), Counterculture Studies, 2(1), 2019, 137-150. doi:10.14453/ccs.v2.i1.17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Memories of Nick Drake (1969-70) Abstract An account of Australian Ross Grainger's meetings with the British singer songwriter guitarist Nick Drake (1948-74) during the period 1969-70, including discussions at London folk clubs. Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License. This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol2/iss1/18 Memories of Nick Drake (1969-70) Ross Grainger Nick Drake, 29 April 1969. Photograph: Keith Morris. I first met Nick Drake when I arrived in London after attending the Isle of Wight Pop Festival in 1969, which featured as its curtain-closer a very different Bob Dylan to the one I had seen in Sydney in March 1966. However, on thinking about it, Dylan’s more scaled down eclectic country music approach - which he revealed for the first time - kind of prepared me for what I was about to experience in London. The day after I arrived at my temporary London lodgings with friends living in Warwick Avenue, I went to Les Cousins in Greek Street. -
Jahresauswahl Globalwize 2011
Globalwize Best of 2011 01. Kääme >>>Andrew Cronshaw: The Unbroken Surface of Snow (Cloud Valley Music/ www.cloudvalley.com/ www.andrewcronshaw.com ) 02. Heptimo >>>Dancas Ocultas: Tarab (Numérica/Galileo MC/ www.dancasocultas.com ) 03. Quérom’ire >>>Uxía: Danzas das Areas (Fol/Galileo MC/ www.uxia.net / www.folmusica.com ) 04. Hold Me In >>>Lucas Santtana: Sem Nostalgia (Mais Um Discos/Indigo/ www.maisumdiscos.com ) 05. She was >>>Camille: Ilo veyou (EMI France/Capitol Records/ www.camille-music.com ) 06. Pharizm >>>Bratsch: Urban Bratsch (World Village/Harmonia Mundi/ www.worldvillagemusic.com / www.bratsch.com ) 07. Nign for Sabbath & Holidays >>>Joel Rubin & Uri Caine Duo: Azoy Tsu Tsveyt (Tzadik/ SunnyMoon) 08. March of the Jobless Corps / Arbeitzlozer Marsh >>>Daniel Kahn & The Painted Bird: Lost Causes Songbook (Oriente Musik/ www.oriente.de / www.paintedbird.net ) 09. Opa Cupa >>>Söndörgö: Tamburising (World Village/Harmonia Mundi/ www.worldvillagemusic.com / www.sondorgo.hu ) 10. Yarmouth Town >>> Bellowhead: Hedonism (Navigator Records/PIAS/ www.bellowhead.co.uk ) 11. The Leaves of Life >>>June Tabor & Oysterband: Ragged Kingdom (Westpark Music/Indigo/ www.westparkmusic.de / www.osterband.co.uk ) 12. L’immagine di te >>>Radio Dervish con Livio Minafra & La Banda Di Sannicandro di Bari: Bandervish (Princigalli/ www.radiodervish.com ) 13. Insintesi feat. Alessia Toondo: Pizzica di Aredo >>> Insintesi Salento in Dub (Anima Mundi/ www.suonidalmundo.com ) 14. Beddhu Stanotte >>>Canzionere grecanico salentino: Focu d’amore (Ponderosa Music/ www.canzonieregrecanicosalentino.net ) 15. Shiner Hobo Band: Grinders Polka >>>V.A. (Hrsg. Thomas Meinecke): Texas Bohemia Revisited (Trikont/Indigo/ www.trikont.de ) 16. So Glad >>>Hazmat Modine: Cicada (Jaro/ www.jaro.de / www.hazmatmodine.com) 17. -
At the Turning Wave Festival from Ireland Caoimhin O’Raghallaigh Eithne Ni Cháthain Enda O’Cathain
Dates For Your Diary Folk News Folk Federation of New South Wales Dance News Inc CD Reviews Issue 401 NOVEMBER 2008 $3 At the Turning Wave Festival from Ireland Caoimhin O’Raghallaigh Eithne Ni Cháthain Enda O’Cathain ♫ folk music ♫ dance ♫ festivals ♫ reviews ♫ profiles ♫ diary dates ♫ sessions ♫The Folkteachers Federation ONLINE ♫ - jam.org.au opportunitiesThe CORNSTALK Gazette NOVEMBER 2008 1 AdvErTISINg Rates Size mm Members Non-mem November 2008 Full page 180x250 $80 $120 In this issue Folk Federation of New South Wales Inc Post Office Box A182 1/2 page 180x125 $40 $70 Dates for your diary p4 Sydney South NSW 1235 1/4 page 90x60 $25 $50 Festivals, workshops, schools p6 ISSN 0818 7339 ABN9411575922 jam.org.au 1/8 page 45 x 30 $15 $35 Folk news p7 Cornstalk Editor - Coral Vorbach Back cover 180x250 $100 $150 Dance news p7 Post Office Box 5195. Cobargo NSW 2550 2 + issues per mth $90 $130 Folk contacts p8 Tel/Fax: 02 6493 6758 Advertising artwork required by 5th Friday of month. Industry Insights (Nick Charles) p11 Email: [email protected] Advertisements can be produced by Cornstalk if re- Cornstalk is the official publication of the Folk quired. Please contact the editor for enquiries about Inside Acoustic Music - Recording a live Federation of NSW. Contributions, news, reviews, advertising Tel: 6493 6758 CD by Sue Barratt (Part 4 (final) ) p12 poems, photographs most welcome. Inserts for Cornstalk Front cover photograph courtesy Jane Photographs and Artwork [email protected] Harding Photographs - high resolution JPG or TIFF files. Insert rates: DEADLINE December/Jan Adverts - 5th 300 dpi images cropped at correct size. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
Topic Records 80Th Anniversary Start Time: 8Pm Running Time: 2 Hours 40 Minutes with Interval
Topic Records 80th Anniversary Start time: 8pm Running time: 2 hours 40 minutes with interval Please note all timings are approximate and subject to change Martin Aston discusses the history behind the world’s oldest independent label ahead of this collaborative performance. When Topic Records made its debut in 1939 with Paddy Ryan’s ‘The Man That Waters The Workers’ Beer’, an accordion-backed diatribe against capitalist businessmen who underpay their employees, it’s unlikely that anyone involved was thinking of the future – certainly not to 2019, when the label celebrates its 80th birthday. In any case, the future would have seemed very precarious in 1939, given the outbreak of World War II, during which Topic ceased most activity (shellac was particularly hard to source). But post-1945, the label made good on its original brief: ‘To use popular music to educate and inform and improve the lot of the working man,’ explains David Suff, the current spearhead of the world’s oldest independent label – and the undisputed home of British folk music. Tonight at the Barbican (where Topic held their 60th birthday concerts), musical director Eliza Carthy – part of the Topic recording family since 1997, though her parents Norma Waterson and Martin Carthy have been members since the sixties and seventies respectively - has marshalled a line-up to reflect the passing decades, which hasn’t been without its problems. ‘We have far too much material, given it’s meant to be a two-hour show!’ she says. ‘It’s impossible to represent 80 years – you’re talking about the left-wing leg, the archival leg, the many different facets of society - not just communists but farmers and factory workers - and the folk scene in the Fifties, the Sixties, the Seventies.. -
Bert Jansch Bert Jansch Mp3, Flac, Wma
Bert Jansch Bert Jansch mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Bert Jansch Country: Japan Released: 2005 Style: Folk MP3 version RAR size: 1931 mb FLAC version RAR size: 1719 mb WMA version RAR size: 1342 mb Rating: 4.6 Votes: 231 Other Formats: AC3 VQF MP3 AAC MP1 AHX APE Tracklist Hide Credits 1 Strolling Down The Highway 3:06 Smokey River 2 2:56 Written-By – Jimmy Giuffre 3 Oh How Your Love Is Strong 3:40 4 I Have No Time 3:09 5 Finches 0:51 6 Rambling's Going To Be The Death Of Me 3:18 7 Veronica 1:32 8 Needle Of Death 3:20 9 Do You Hear Me Now? 2:06 10 Alice's Wonderland 1:46 11 Running From Home 2:24 12 Courting Blues 4:02 13 Casbah 2:10 14 Dreams Of Love 1:44 Angie 15 3:15 Written-By – Davy Graham, Nat Adderley Bonus Tracks Instrumental Medley 1964 16 8:44 Percussion – Keith De GrootPiano – John ChallisRecorded By – John Challis Angie (Live) 1964 17 Percussion – Keith De GrootPiano – John ChallisRecorded By – John 2:50 ChallisWritten-By – Davy Graham, Nat Adderley Companies, etc. Made By – EDC, Germany – 52406957 Copyright (c) – Sanctuary Records Group Ltd. Phonographic Copyright (p) – Sanctuary Records Group Ltd. Credits Coordinator [Project Co-ordinator] – Antony Amos, Steve Hammonds Design [Reissue] – Becky Stewart Liner Notes [Booklet] – Colin Harper Liner Notes [Original] – Keith De Groot Photography By [Cover Photo], Design [Original Cover] – Brian Shuel Recorded By – Bill Leader (tracks: 1 to 15) Written-By – Bert Jansch (tracks: 1, 3 to 14) Notes Originally released on Transatlantic Records, April 16, 1965, as TRA 125.