DOCSLIB.ORG

Northwest Accordion News

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Northwest Accordion News NORTHWEST ACCORDION NEWS Alpenfest! Holiday Polka Washington State Fair Bringing Structure to Abstract Chaos Accordion Social Reports from the Northwest Groups VOL. 23 NO. 4 Northwest Accordion Society Winter Quarter 2013 Northwest Accordion News NWAS News Deadlines NORTHWEST ACCORDION SOCIETY February 1, May 1, August 1, November 1 The Northwest Accordion News is a quarterly newsletter published by the Northwest Accordion Inquiries, questions, suggestions, etc. Society for and by its members. The purpose of Contact Doris Osgood, 3224 B St., the NWAS News is to unite the membership by Forest Grove, OR 97116. (503) 357-0417. providing news of its members, and articles that E-mail: [email protected] instruct, encourage, and promote the playing of the accordion. NWAS PUBLICATION PRIORITIES ♦ Advertising Mail letters & articles to: ♦ Original Compositions Northwest Accordion Society ♦ News from Our Members 5102 NE 121st Ave. #12, ♦ Instructive/Technical Articles Vancouver, WA 98682 ♦ Summaries from Regional Socials and Or e-mail to: [email protected] Events ♦ Coming Events ADVERTISING Articles will be printed if received prior to Full page $110.00 the publishing deadline. Should space be an Half page $55.00 issue, articles will be printed in the order in which Quarter $30.00 they are submitted. All decisions regarding Business card $10.00 publication will be made by the editors of the Prices are PER ISSUE. US Funds NWAS News. To submit articles for publication, mail Photo-ready Advertising (with accompanying check) them to the Vancouver, WA address listed. It is for this publication may be sent to: preferred that articles be submitted via e-mail as Northwest Accordion Society attached WORD documents or on a disc. Typed, 6453 SE Nathan Ct., Hillsboro, OR 97123 paper copy needs to be dark and clear to allow or e-mail [email protected] scanning and to minimize errors. Photographs sent for publication will be returned if they are accompanied with a SASE of Northwest Accordion News Staff correct size and adequate postage. Photographs Doris Osgood................................... (503) 357-0417 may be sent electronically or on disc. To reprint articles or photographs from [email protected] Judith Ames .................................... (360) 904-1524 magazines and newspapers, written permission [email protected] from the publisher is required. Please submit Colleen Halverson (Advertising) .....(503) 484-5064 the necessary “permission to print” with material [email protected] sent. Views in the articles and information printed NW Accordion Society Offi cers Bonnie Birch, President/Treasurer ................................. (206) 622-4786 are those of the contributors and not necessarily Doris Osgood, Vice President/Communications ............. (503) 357-0417 those of the Northwest Accordion Society or its Judith Ames, Secretary/Technology ............................... (360) 254-5245 advertisers. Advisory Board Rick Hatley, ..................................................................... (253) 288-0442 Dick Myking .................................................................... (253) 537-0136 Is your membership renewal due? Birgit Ages ...................................................................... (206) 368-9720 Check your mailing label. A membership Cooksie (Kaserzon) Kramer ........................................... (425) 828-9104 application/renewal form is included on the Membership: last page. Send your renewals or change of Doris Osgood.................................................................. (503) 357-0417 address to: [email protected] Judith Ames ...................................................................(360) 904-1524 Northwest Accordion Society [email protected] 5102 NE 121st Ave. #12 Vancouver, WA 98682 winter Quarter 2013 1 Northwest Accordion News Table of Contents Quarterly Update 2 Letter from the Editors Dear Members, 2 Quarterly Update Time passes more quickly these days it seems. 3 Letters to the Editor We’re preparing the winter issue of the magazine and 4 Holiday Polka autumn is in full swing. I’ve been hanging on to my last 7 The Typewriter blooms from summer; I think it’s time to give them up. 7 Northwest Accordion Youth Competition There are several things in this issue that I’d like 9 Bringing Structure to Abstract Chaos to bring to your attention. First, we’d like to thank Dick 10 The Accordion Takes on New Importance at Skultin for his interest, effort, and fi nancial support of Oregon’s Alpenfest the Youth Competition promoted in our last issues. Dick 11 Alpenfest with Shirley and Jim O’Brien had fi rst feared that he would be overwhelmed with 12 Breaking News: The Passing of entrants. As it happens, few young players entered the Carmen Carrozza competition. The music was challenging and the effort 13 Gary Blair on the Go to produce a recording was also challenging. In the end, 14 Autumn Accordion Social in Forest Grove a winner was selected as well as recognizing another 16 Musical Chord Tips from Gary Dahl young player. This was no small gesture from Dick; 19 In Remembrance Louis “Luigi” Rangan we are very grateful for his making a special effort to 20 Remembering Lisa Ward encourage and reward young accordionists. 20 Spokane Accordion Ensemble Next, I have to tell you that the contemporary music 21 The Vivace Accordion Orchestra of Spokane demonstrated by the elite, international accordionists 22 Seattle Social Report in recent competitions is a mystery to me. I get what 23 Seattle Accordion Socials classical music is; “contemporary classical” is another 23 Welcome New Members breed altogether. Music that wasn’t melodic, seemed to 24 Roland Announces 2013 go nowhere, didn’t seem to have a recognizable form, U.S. V-Accordion® Festival Winner and promoted the instrument to be used for percussion 24 Remembering Asher Barnea left me bewildered. I hoisted the white fl ag and asked for 24 Request from Poland someone to attempt to explain the form to those of us a 25 Pietka Scholarship Requests bit more “traditional”. Patricia Bartell met the challenge 25 Preparing for Leavenworth and provided the article in this issue. Thank you, Patricia. 26 Music Styles for Leavenworth 2014 Note that the socials in Seattle will be held at the 27 Divisions and Requirements for Competition West Seattle Senior Center exclusively beginning in 29 Tacoma Accordion Social December. While the Swedish Cultural Center is a very 30 Washington State Fair nice venue, parking and the general location was diffi cult 31 By the Way – for some members. The WSSC works best for most. 32 More from Gary Blair The Day of the Accordion will be here shortly after 33 About the Zwiefacher the Christmas holiday. Again, the event will be held at 36 Accordion Events Calendar the Crossroads Mall in Bellevue. The public stage has 38 Entertainers in the Northwest been a great venue for the day’s program. The Mall Letter from the Editors provides publicity and gives compensation for a portion Greetings! the day’s music in the public area. Our professional I am back to playing my accordion! And back to entertainers have enjoyed the venue and the audience working full-time. Even so, I enjoy working on the NWAS response is encouraging. The audience grows as the News. I get to see the articles and pictures before most day progresses; it’s fun to people watch. of you. Remember - if you want COLOR - ask for the Also, it’s not too soon to begin thinking about the link to our PDF version that we have available! Leavenworth International Accordion Celebration. Our We had a beautiful summer and colorful fall! (Will chairman, Bonnie Birch, has been working to fi nalize the we have a “real” winter (i.e. with SNOW!) as well? professional line-up and Steve Berg has been working I’ve heard great reports of the events that have on preliminary promotional material. Most of the program taken place - we have LOTS of reports in this edition is set. Getting the fi nal plan for workshops and schedule of NWAS News. Enjoy! And don’t forget to send in your is still a work in progress. Plan now to participate in the articles, pictures, etc. for the Spring issue by Feb. 1! competitions, performances at the gazebo, marching Judith Ames in the parade, and volunteering. It’s going to be a great ([email protected]) 2 winter Quarter 2013 Northwest Accordion News Letters to the Editor time. In this issue you will fi nd Holiday Polka, composed Dear NWAS, by Wally Lazar. Wally is a resident of the Canadian prairie Thanks for reminding me about my need to pay for and has provided several compositions for the Northwest a renewal. Always enjoy it from cover to cover! Accordion Society. His handwritten compositions were Karen Halgren, Anacortes, WA engraved by our friend, Ron Ostromecki. His beautiful engraving transforms the music and makes it easier for Dear NWAS, all of us to read. Thank you both. Enclosed is my check for membership renewal. We thank our regular contributors and our faithful My address from May to October is... and from No- advertisers. Special thanks to Marjorie Rombauer, Eloise vember to April it will be... I’m one of those SnoBirds. Adaire, Ron Ostromecki, John Guiliani, and Cooksie Richard A. Srok, Lynnwood, WA Kramer. We also thank Petosa Accordions, Michael (Editors note: We truly appreciate notifi cation of change of Arralde/ Diamond Accordions, Castiglione Accordions, address or “sno-bird” addresses and dates.) Roland, Louis Traverso, Accordions N More and Bell and
Load more

Recommended publications
  • ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
    ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning.
    [Show full text]
  • Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
    MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced.
    [Show full text]
  • Here's What's Happening at AAA in 2013
    AMERICAN ACCORDIONISTS’ ASSOCIATION Newsletter A bi-monthly publication of the American Accordionists’ Association JANUARY 2013 From the Editor Here’s What’s Welcome to the January 2013 edition of the AAA Newsletter. As we begin the New Year, it is already shaping up to be an exciting 12 months, full of spectacular accordion events anchored by our own organization’s 75th An- Happening at niversary to be celebrated in New York City in August. My sincere thanks go to our AAA President Linda Reed for her kind assistance in AAA in 2013 the production of this bi-monthly Newsletter which is now celebrating its first an- niversary! I would also like to extend a special thank you to my fellow Board of Director Rita David- son for helping gather and research the News articles, and to all the members who have been able to MARCH 16, 2013 submit items for publication. Coupe Mondiale Items for the March Newsletter can be sent to me at [email protected]. Please include qualifying categories. ‘AAA Newsletter’ in the subject box, so that none of the items are missed when they come in. Text See article on this page should be sent within the e-mail or as a Word .doc (not docx) attachment. Pictures should be sent as a high quality .jpg or similar image file, and the larger the file size the better. We can always MARCH 17, 2013 reduce/crop the picture if necessary, however we are unable to increase the quality from smaller pic- 2:00 pm tures. The deadline for the March 2013 edition will be the 15th of February.
    [Show full text]
  • Contemporary Folk Dance Fusion Using Folk Dance in Secondary Schools
    Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part Contemporary Folk Dance Fusion Using folk dance in secondary schools By Kerry Fletcher, Katie Howson and Paul Scourfield Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Kerry Fletcher, Katie Howson and Paul Schofield Edited by: Frances Watt Copyright © English Folk Dance and Song Society, Kerry Fletcher, Katie Howson and Paul Schofield, 2014 Permission is granted to make copies of this material for non-commercial educational purposes.
    [Show full text]
  • III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
    III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.
    [Show full text]
  • Schottische Musik
    Masterprüfung Musik SCHOTTISCHE MUSIK Gestern und heute Reichmuth Fabienne Stoll Pierina SR 12 H16 Sach- und Begründungsanalyse Schottische Musik gestern und heute Abstract Die vorliegende Arbeit befasst sich mit schottischer Musik von früher und der Gegenwart als auch deren schulprak- tische Umsetzung auf der Sekundarstufe 1. In der Sach- und Begründungsanalyse werden Hintergrundinformatio- nen über typische schottische Instrumente und die Geschichte des Dudelsacks und der Scottish Folk Musik ge- sammelt. Es werden auch Merkmale der Scottish Folk Musik aufgeführt und thematisiert, inwiefern man diese musikalischen Merkmale in der heutigen schottischen Musik noch finden kann. Zudem wird der Cèilidh, eine typisch schottische Tanzveranstaltung, und die dazugehörige Tanzmusik kurz erläutert. Danach folgt die Begründungs- analyse, in welcher beschrieben wird, inwiefern die Thematik für die Lernenden von Bedeutung ist und welche Punkte des Lehrplans durch die Auseinandersetzung mit dem Thema Schottische Musik früher und heute abge- deckt werden können. Es folgen allgemeine Hinweise zur Umsetzung des Themas im Unterricht. Im Ideenpool werden weitere mögliche Anknüpfungspunkte zu den fünf Bereichen des Lehrplans 21 gesammelt. Im Hinblick auf die schulpraktische Umsetzung wurden exemplarische drei schottische Songs – The Ballad of John MacLean, This is the Life, und I’m Gonna Be (500 Miles) – gewählt. Zu den ersten beiden Songs wurde ein Lead- sheet, für den letzten ein Arrangement inklusive Spielhilfen für die Umsetzung im Klassenzimmer erstellt. Des Weiteren beinhaltet diese Arbeit eine Bewegungsanleitung für einen traditionellen Cèilidh zum Stück Virginia Reel. Zudem haben wir vier Arbeitsmaterialien zu den Themen Dudelsack, Edinburgh Military Tattoo, Cèilidhs und Schot- tische Instrumente erstellt. Zwei dieser Materialien und die Bewegungsanleitung lassen sich für den fächerüber- greifenden Unterricht in Kombination mit Englisch verwenden, was sich angesichts der Thematik offensichtlich anbietet.
    [Show full text]
  • Deutsche Nationalbibliografie 2012 T 04
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2012 T 04 Stand: 18. April 2012 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2012 ISSN 1613-8945 urn:nbn:de:101-ReiheT04_2012-7 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • Ö 10 - 1 Royal Empress Tango English Couple I A- 5
    MVFD Listing by OLD Number CD Track Dance Name Nationality Type Inst Old # 9 - 20 Canadian Breakdown USA Contra A- 3 9 - 19 Petronella USA Contra I A- 3 ö 10 - 1 Royal Empress Tango English Couple I A- 5 9 - 21 Tango Waltz, The English Couple A- 5 10 - 2 Camptown Races USA Square I A- 8 10 - 3 Old Joe Clark USA Square A- 8 10 - 3 Old Joe Clark USA Contra A- 8 10 - 4 Bonfire (Fisher's Hornpipe) Irish Couple I A- 9 10 - 5 Come Up the Backstairs (Sacketts USA Contra I A- 9 10 - 4 Fisher's Hornpipe USA Contra I A- 9 10 - 5 Sacketts's Harbour (Come Up the USA Contra I A- 9 ö 81 - 17 Aird Of Coigah (Reel of Mey) Scottish Set 4 Couple I A-10 81 - 18 Cauld Kail in Aberdeen Scottish Set 4 Couple I A-10 81 - 15 Gates of Edinburgh (8x32 Reel) S Scottish Set 4 Couple A-10 81 - 13 Hooper's Jig (8x32 Jig) SKIPS Scottish Jig A-10 81 - 16 Jessie's Hornpipe (8x32 Reel) Scottish Contra I A-10 81 - 19 Kingussie Flower (8x40 Reel) Scottish Reel A-10 81 - 14 Macphersons of Edinburgh, The ( Scottish Set 4 Couple A-10 81 - 12 Mairi's Wedding (8x40 Reel) Scottish Set 4 Couple I A-10 81 - 19 Red House Reel (Kingussie Flow Scottish Set 4 Couple I A-10 ö 81 - 17 Reel of Hey, The (8x48 Reel) Scottish Set 4 Couple I A-10 81 - 19 White Heather Jig (Kingussie Flo Scottish Set 4 Couple I A-10 10 - 7 Geudman Of Ballangigh English Contra I A-11 10 - 6 Larusse English Square I A-11 10 - 8 Yorkshire Square Eight English Square I A-11 10 - 12 Dargason English Set 4 Couple I A-12 10 - 9 Little Man in a Fix Danish Set 2 Couple I A-12 Saturday, July 29, 2000 Page 1 of 96 MVFD
    [Show full text]
  • Squeezins October 2014
    Volume 14, Issue 4 October 2014 SQUEEZINS "Our squeezin’...is pleasin’" The Oklahoma Accordion Club Newsletter September Meeting Diana Richard October Meeting The October meeting will be held on Sunday, is encouraged to perform. If you are shy about October 12, at 3:30 pm. As usual, the meeting playing alone, some of us will play with you. will be held at the Messiah Lutheran Church, After the individual and group performances, located on the southeast corner of Northwest we will have a Jam Session. Expressway and Portland in Oklahoma City. All are welcome to join in on the fun! Everyone is encouraged to come, and everyone !The Oklahoma Squeezins! October 2014! Page 1 ! The Prez Sez BOARD OF DIRECTORS Barbara Duer PRESIDENT Our September-fest meeting was a HUGE success. The food was Barbara Duer fantastic, of course, thanks to Evie and Dick, and the music so 100010 Hefner Village Terrace wonderful. I like all those descriptive words. That’s what the Club Oklahoma City, OK 73162 has become: fantastic, wonderful, energetic, and fun. It was great to 405/721-9657 have so many people play -- let’s keep that up so we can all entertain [email protected] each other. Everyone, get a musical piece ready each month, and play it for us. I’ve written about Swiss music this month. My inspiration was a VICE-PRESIDENT Swiss duet I downloaded free online a couple years ago. It is really a Tom Phillips nice little piece. Karen and I are going to play it at the next meeting.
    [Show full text]
  • Summer 2017 LVAC TIMES COME JOIN US! October 23-26 the SHOW of SHOWS! Yes, the Accordion Stars Will Be Shining Brighter Than Ever This October 23, 2017
    18th Annual Las Vegas International Accordion Convention Volume 18, Number 1 / Summer 2017 LVAC TIMES COME JOIN US! October 23-26 The SHOW of SHOWS! Yes, the accordion stars will be shining brighter than ever this October 23, 2017. We are so honored to have a vast and varied program this year that will include music for everyone. The lineup starts with visionary accordionist and friend to all, Cory Pesaturo, and bookends with a grand finale starring Grayson Masefield and the International Accordion Orchestra under the direction of Professor Joan Sommers. Make sure to read on and see why you ;")-%3"::'#(% !"#$%&'()*+#"% should join us for the BEST EVENT YET! Cory is an American musician from Cumberland, Rhode Island. He was accepted on the accordion at the New England Conservatory of Music in Boston, MA, where he became the second person to major in and graduate as an accordionist. Cory became the first American to win a World Accordion Championship since Peter Soave 25 years earlier. He has studied and plays a variety of musical styles including jazz, folk, and classical music. Come help us celebrate Cory’s Las Vegas debut. Grayson debuted at the Las Vegas International Accordion Convention ,#)$("-%.)('/0'12% in 2015 and was an immediate sensation. Those who were in attendance are still .)#$%<"7)#(70% talking about the amazing young man from New Zealand! In 2009 he became the first person ever to win the prestigious Coupe Mondiale Virtuoso Classical and the Coupe Mondiale Virtuoso Entertainment awards back to back in the same year. Grayson has become a sought-after musician and has performed all over the world.
    [Show full text]
  • Northwest Accordion News
    NORTHWEST ACCORDION NEWS Wine Festival The Great Accordion Myth Uncovered Improvising Duets: Comping for All Seasons Leavenworth International Accordion Celebration! News about Cory Pesaturo, Alicia Baker and Stas Venglevski! VOL. 21 NO. 3 Northwest Accordion Society Fall Quarter 2011 Northwest Accordion News Northwest Accordion News Staff Doris Osgood............................................(503) 357-0417 NWAS PUBLICATION PRIORITIES [email protected] Advertising Judith Ames .............................................(360) 254-5245 Original Compositions [email protected] News from Our Members Colleen Halverson (Advertising) ..............(503) 484-5064 Instructive/Technical Articles [email protected] Summaries from Regional Socials and NW Accordion Society Offi cers Events Bonnie Birch, President/Treasurer ................................. (206) 622-4786 Coming Events Doris Osgood, Vice President/Communications ............. (503) 357-0417 Articles will be printed if received prior to the Judith Ames, Secretary/Technology ............................... (360) 254-5245 publishing deadline. Should space be an issue, Advisory Board articles will be printed in the order in which they are Rick Hatley, ..................................................................... (253) 288-0442 submitted. All decisions regarding publication will be Shirlee Holmes .............................................................. (206) 282-4934 made by the editors of the NWAS News. Dick Myking ...................................................................
    [Show full text]
  • Dance in Copenhagen, C. 1750-1840
    Dance in Copenhagen Dance in Copenhagen, c. 1750-1840 By Henning Urup The subject of this article is dance forms in Denmark, and especially in Copenhagen, in the period c. 1750-1840. The account is based on the preseryed source material, and this involves an important methodological problem. Dance is a transitory phenomenon in the form of motion in the present. The written sources are descriptions of something seen and experienced, or instructions on how the dance/music is to be executed. It has always been diffiCldt to write dan ces down, and for that reason many dan ces have never been recorded on paper. In the European musical tradition, the notation of mus ic plays a central role, and the concept ofthe work is ofte n tied to the notation. By analog)' with this, incomplete or inadequate dance notation poses a problem. Musical notation gives us information about pitch and durations as well as dynamics and phrasing. The notation of dance requires similar infor­ mation, but also indications of body movemen ts, orien tations of arms and legs and progressions of movement through space. Dance notation therefore becomes complicated, and the various systems of notation are usually associated with specific dance forms and styles where. because of certain shared assumptions, one does not need to write down too much. Elements that are self-evident in the tra­ dition in question are usually omitted. Many important details have thus never been written down, and this poses an important problem for later researchers. The relationship of the author to dance and music is of great importance in interpreting the source material.
    [Show full text]