Bellows & Bows: Historic Recordings of Traditional Fiddle & Accordion
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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. -
Traditional Irish Music Presentation
Traditional Irish Music Topics Covered: 1. Traditional Irish Music Instruments 2 Traditional Irish tunes 3. Music notation & Theory Related to Traditional Irish Music Trad Irish Instruments ● Fiddle ● Bodhrán ● Irish Flute ● Button Accordian ● Tin/Penny Whistle ● Guitar ● Uilleann Pipes ● Mandolin ● Harp ● Bouzouki Fiddle ● A fiddle is the same as a violin. For Irish music, it is tuned the same, low to high string: G, D, A, E. ● The medieval fiddle originated in Europe in ● The term “fiddle” is used the 10th century, which when referring to was relatively square traditional or folk music. shaped and held in the ● The fiddle is one of the arms. primarily used instruments for traditional Irish music and has been used for over 200 years in Ireland. Fiddle (cont.) ● The violin in its current form was first created in the early 16th century (early 1500s) in Northern Italy. ● When fiddlers play traditional Irish music, they ornament the music with slides, cuts (upper grace note), taps (lower grace note), rolls, drones (also known as a double stop), accents, staccato and sometimes trills. ● Irish fiddlers tend to make little use of vibrato, except for slow airs and waltzes, which is also used sparingly. Irish Flute ● Flutes have been played in Ireland for over a thousand years. ● There are two types of flutes: Irish flute and classical flute. ● Irish flute is typically used ● This flute originated when playing Irish music. in England by flautist ● Irish flutes are made of wood Charles Nicholson and have a conical bore, for concert players, giving it an airy tone that is but was adapted by softer than classical flute and Irish flautists as tin whistle. -
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. -
Scottish and Irish Elements of Appalachian Fiddle Music
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.> Date / / - ( /'--/----- --",,-..- Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'- ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---. -
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. -
Extension Activity
Extension Activity - How the Banjo Became White Rhiannon Giddens is a multi-instrumentalist, singer, and found- ing member of the old-time music group Carolina Chocolate Drops. In 2017 she was awarded the Macarthur “Genius” Grant. Below are excerpts from a keynote address she gave at the 2017 International Bluegrass Music Association Conference, where she discusses the erasure of African Americans in the history of bluegrass, a genre that predominantly features the banjo. So more and more of late, the question has been asked: how do we get more diversity in bluegrass? Which of course, behind the hand, is really, why is bluegrass so white??? But the answer doesn’t lie in right now. Before we can look to the future, we need to understand the past. To understand how the banjo, which was once the ultimate symbol of African American musical expression, has done a 180 in popular understanding and become the emblem of the mythical white mountaineer—even now, in the age of Mumford and Sons, and Béla Fleck in Africa, and Taj Mahal’s “Colored Aristocracy,” the average person on the street sees a banjo and still thinks Deliverance, or The Beverly Hillbillies. In order to understand the history of the banjo and the history of bluegrass music, we need to move beyond the narratives we’ve inherited, beyond generalizations that bluegrass is mostly derived from a Scots-Irish tradition, with “influences” from Africa. It is actually a complex creole music that comes from multiple cultures, African and European and Native; the full truth that is so much more interesting, and American. -
Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin's Mazurkas by Monika Zaborowsk
Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin’s Mazurkas by Monika Zaborowski BMUS, University of Victoria, 2009 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Monika Zaborowski, 2013 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin’s Mazurkas by Monika Zaborowski BMUS, University of Victoria, 2009 Supervisory Committee Susan Lewis-Hammond, (School of Music) Co-Supervisor Bruce Vogt, (School of Music) Co-Supervisor Michelle Fillion, (School of Music) Departmental Member iii Abstract Supervisory Committee Susan Lewis-Hammond, (School of Music) Co-Supervisor Bruce Vogt, (School of Music) Co-Supervisor Michelle Fillion, (School of Music) Departmental Member One of the major problems faced by performers of Chopin’s mazurkas is recapturing the elements that Chopin drew from Polish folk music. Although scholars from around 1900 exaggerated Chopin’s quotation of Polish folk tunes in their mixed agendas that related ‘Polishness’ to Chopin, many of the rudimentary and more complex elements of Polish folk music are present in his compositions. These elements affect such issues as rhythm and meter, tempo and tempo fluctuation, repetitive motives, undulating melodies, function of I and V harmonies. During his vacations in Szafarnia in the Kujawy region of Central Poland in his late teens, Chopin absorbed aspects of Kujaw performing traditions which served as impulses for his compositions. -
Suggested Repertoire
THE LEINSTER SCHOOL OF RATE YOUR ABILITY REPERTOIRE LIST MUSIC & DRAMA Level 1 Repertoire List Bog Down in the Valley Garryowen Polka Level 2 Repertoire List Maggie in the Woods Planxty Fanny Power Level 3 Repertoire List Jigs Learn to Play Irish Trad Fiddle The Kesh Jig (Tom Morley) The Hag’s Purse Blarney Pilgrim The Merry Blacksmith The Swallowtail Jig Tobin’s Favourite Double Jigs: (two, and three part jigs) The Hag at the Churn I Buried My Wife and Danced on her Grave The Carraroe Jig The Bride’s Favourite Saddle the Pony Rambling Pitchfork The Geese in the Bog (Key of C or D) The Lilting Banshee The Mist Covered Meadow (Junior Crehan Tune) Strike the Gay Harp Trip it Upstairs Slip Jigs: (two, and three part jigs) The Butterfly Éilish Kelly’s Delight Drops of Brandy The Foxhunter’s Deirdre’s Fancy Fig for a Kiss The Snowy Path (Altan) Drops of Spring Water Hornpipes Learn to Play Irish Trad Fiddle Napoleon Crossing the Alps (Tom Morley) The Harvest Home Murphys Hornpipes: (two part tunes) The Boys of Bluehill The Homeruler The Pride of Petravore Cornin’s The Galway Hornpipe Off to Chicago The Harvest Home Slides Slides (Two and three Parts) The Brosna Slides 1&2 Dan O’Keefes The Kerry Slide Merrily Kiss the Quaker Reels Learn to Play Irish Trad Fiddle The Raven’s Wing (Tom Morley) The Maid Behind the Bar Miss Monaghan The Silver Spear The Abbey Reel Castle Kelly Reels: (two part reels) The Crooked Rd to Dublin The Earl’s Chair The Silver Spear The Merry Blacksmith The Morning Star Martin Wynne’s No 1 Paddy Fahy’s No 1 Fr. -
Slate Mountain Ramblers
The Slate Mountain Ramblers The Slate Mountain Ramblers is a family old-time band from Mt. Airy, NC. They formerly lived in Ararat, VA, a small community at the foot of the Blue Ridge Mountains. For many years, Richard Bowman, his wife, Barbara, and their daughter Marsha, have spent weekends playing music. Richard plays fiddle, Barbara the bass and Marsha plays claw-hammer banjo. The band has a winning tradition by winning and placing at fiddler’s conventions they have attended throughout the years. Richard, on fiddle, and Marsha, on claw-hammer banjo, have received many individual awards. The Slate Mountain Ramblers play for shows, dances, family and community gatherings, benefits and compete at fiddler’s conventions throughout the year. They have played internationally at the Austrian Alps Performing Arts Festival and in Gainsborough, England for the Friends of American Old Time Music and Dance Festival. They also lead fiddle, banjo, bass and dance workshops. Richard Bowman is a champion fiddler, winning old-time fiddle competitions at many fiddlers conventions including Galax, Mt. Airy and Fiddler’s Grove. He has been playing the fiddle for about 45 years, the last 35 plus as leader of the Slate Mountain Ramblers. Learning from local old-time fiddlers, Richard’s long-bow style is easily recognizable. At fiddler’s conventions, he can be found with fellow musicians in a jam session. Other weekends finds Richard and the band playing for square dances where everyone enjoys flat footing or two-stepping to a pile of fiddle tunes. Marsha Bowman Todd is a hard driving clawhammer banjo player. -
16Winter-NWAS.Pdf
NORTHWEST ACCORDION NEWS Alpenfest Accordion on Broadway Jolly Accordion Man Polka Remembering Marjorie Rombauer 10 Things I Learned from Cruise Ship Musicians VOL. 26 NO. 4 Northwest Accordion Society Winter Quarter 2016 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 $120.00 the publishing deadline. Should space be an Half page $65.00 issue, articles will be printed in the order in which Quarter $35.00 they are submitted. All decisions regarding Business card $15.00 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. -
Microtiming Analysis in Traditional Shetland Fiddle Music
MICROTIMING ANALYSIS IN TRADITIONAL SHETLAND FIDDLE MUSIC Estefanía Cano Scott Beveridge Fraunhofer IDMT Songquito [email protected] [email protected] ABSTRACT This work aims to characterize microtiming variations in traditional Shetland fiddle music. These microtiming vari- ations dictate the rhythmic flow of a performed melody, Unst and contribute, among other things, to the suitability of Scotland this music as an accompaniment to dancing. In the con- text of Shetland fiddle music, these microtiming variations are often referred to as lilt. Using a corpus of 27 tradi- Yell Fetlar tional fiddle tunes from the Shetland Isles, we examine inter-beat timing deviations, as well as inter-onset timing deviations of eighth note sequences. Results show a num- ber of distinct inter-beat and inter-onset rhythmic patterns Whalsay that may characterize lilt, as well as idiosyncratic patterns Mainland for each performer. This paper presents a first step towards the use of Music Information Retrieval (MIR) techniques for modelling lilt in traditional Scottish fiddle music, and highlights its implications in the field of ethnomusicology. 1. INTRODUCTION The Shetland Isles is an archipelago situated 100 miles north of the Scottish mainland (Figure 1). The distinctive music-culture of the Isles reflects a wide range of influ- Figure 1: The Shetland Isles ences from around the North-Atlantic, including mainland Scottish, Scandinavian, and North-American, in particular. The earliest evidence of a performance tradition on violin, notated consecutive eighth notes are not played with equal or fiddle, in the Shetland Isles dates from the eighteenth duration, often approximating a tied triplet notation with a century, but there is also evidence of a pre-violin string- 2:1 ratio [4]. -
Accordion (Music Playing) Narrator: Along with the Argentinean Tango
Accordion (Music playing) Narrator: Along with the Argentinean tango, French musettes, and German polkas, the accordion is one of the defining sounds of Central Texas conjunto bands, as well as Southeast Texas Cajun and zydeco music, country, and western swing. (Music playing) N: With its roots dating back to China thousands of years ago, the popularity of this instrument took off in the early nineteenth century in Europe. N: By the mid 1800s, immigrants had brought the accordion to Texas, where it became emblematic in the way different ethnic groups have shared their musical heritage and influences. (Music playing) N: Patented in 1829 by an Austrian named Cyrill Demian, the accordion spread quickly throughout Europe. N: From Ireland to Russia, versatility and sheer volume of this instrument attracted folk musicians who adapted it to their own style of music. N: However, it was the Germans, Czechs, and French who forever changed Texas music with their use of the accordion. (Music playing) N: German immigrants began moving to Central Texas in large numbers in the 1840s, settling in what became known as the “German Belt,”areas including New Braunfels, Fredericksburg, and Luckenbach. N: German folk songs, with the polka, waltz, and schottische dance steps, were a fundamental part of these immigrant communities, and the accordion was essential to their music. (Music playing) N: By the turn-of-the-century, German Texans and Tejanos were increasingly exchanging musical influences. N: Santiago Jiménez began playing the accordion in 1921 at the age of eight. N: His father, Patricio, had been a successful accordion player in Eagle Pass, Texas, and he encouraged his son to play.