The Tune-Making of John Macdougall
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Savannah Scottish Games & Highland Gathering
47th ANNUAL CHARLESTON SCOTTISH GAMES-USSE-0424 November 2, 2019 Boone Hall Plantation, Mount Pleasant, SC Judge: Fiona Connell Piper: Josh Adams 1. Highland Dance Competition will conform to SOBHD standards. The adjudicator’s decision is final. 2. Pre-Premier will be divided according to entries received. Medals and trophies will be awarded. Medals only in Primary. 3. Premier age groups will be divided according to entries received. Cash prizes will be awarded as follows: Group 1 Awards 1st $25.00, 2nd $15.00, 3rd $10.00, 4th $5.00 Group 2 Awards 1st $30.00, 2nd $20.00, 3rd $15.00, 4th $8.00 Group 3 Awards 1st $50.00, 2nd $40.00, 3rd $30.00, 4th $15.00 4. Trophies will be awarded in each group. Most Promising Beginner and Most Promising Novice 5. Dancer of the Day: 4 step Fling will be danced by Premier dancer who placed 1st in any dance. Primary, Beginner and Novice Registration: Saturday, November 2, 2019, 9:00 AM- Competition to begin at 9:30 AM Beginner Steps Novice Steps Primary Steps 1. Highland Fling 4 5. Highland Fling 4 9. 16 Pas de Basque 2. Sword Dance 2&1 6. Sword Dance 2&1 10. 6 Pas de Basque & 4 High Cuts 3. Seann Triubhas 3&1 7. Seann Triubhas 3&1 11. Highland Fling 4 4. 1/2 Tulloch 8. 1/2 Tulloch 12. Sword Dance 2&1 Intermediate and Premier Registration: Saturday, November 2, 2019, 12:30 PM- Competition to begin at 1:00 PM Intermediate Premier 15 Jig 3&1 20 Hornpipe 4 16 Hornpipe 4 21 Jig 3&1 17 Highland Fling 4 22. -
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 _ -- -"-".,---. -
Traditional Music of Scotland
Traditional Music of Scotland A Journey to the Musical World of Today Abstract Immigrants from Scotland have been arriving in the States since the early 1600s, bringing with them various aspects of their culture, including music. As different cultures from around Europe and the world mixed with the settled Scots, the music that they played evolved. For my research project, I will investigate the progression of “traditional” Scottish music in the United States, and how it deviates from the progression of the same style of music in Scotland itself, specifically stylistic changes, notational changes, and changes in popular repertoire. I will focus on the relationship of this progression to the interactions of the two countries throughout history. To conduct my research, I will use non-fiction sources on the history of Scottish music, Scottish culture and music in the United States, and Scottish immigration to and interaction with the United States. Beyond material sources, I will contact my former Scottish fiddle teacher, Elke Baker, who conducts extensive study of ethnomusicology relating to Scottish music. In addition, I will gather audio recordings of both Scots and Americans playing “traditional” Scottish music throughout recent history to compare and contrast according to their dates. My background in Scottish music, as well as in other American traditional music styles, will be an aid as well. I will be able to supplement my research with my own collection of music by close examination. To culminate my project, I plan to compose my own piece of Scottish music that incorporates and illustrates the progression of the music from its first landing to the present. -
Highland Dance Competitions & Championships
HIGHLAND DANCE COMPETITIONS & CHAMPIONSHIPS ScotDance USA MW-0202 May 22-24, 2020 Alma College Art Smith Arena – Hogan Center 614 West Superior Street Alma, Michigan 48801 EVENTS: Choreography Competition Great Lakes Open Championship Great Lakes Open Premiership Pre-Premier Competition Great Lakes Closed Championship – Midwest Regional Qualifier for USIR Judges: Pipers: Diane Krugh – Houston, Texas Glen Sinclair – London, Ontario Pat McMaster – Niagara-on-the-Lake, Ontario Bill Weaver – St. Louis, Michigan Jill Young – Calgary, Alberta Registration: Visit Ticketleap for registration information for all events. Sponsorship opportunities are also available. $5 from each entry goes to support ScotDance USA Midwest. Entries accepted through May 17, 2020, unless otherwise noted. Rules: 1. Competitions will be conducted in accordance with the rules of the Royal Scottish Official Board of Highland Dancing (RSOBHD). 2. The judge’s decision is final. 3. Age groups will be determined according to the number of entries and competitors’ ages as of the day of the competitions, with the exception of the Great Lakes Closed Championship. 4. Dancers must present their 2020 registration card to register and receive awards. 5. Dancers first to enter shall be last to dance. 6. Dancers must be ready and appear when called or forfeit the chance to dance. 7. Dancers must be in full costume to receive awards. 8. Awards are given at the judge’s discretion. 9. Alma Highland Festival reserves the right to make changes to the event or schedule so long as the change falls within the scope of RSOBHD Rules. Questions: Megan Brown, Organizer Email: [email protected] Phone/Text: (989) 763-6456 Friday, May 22, 2020: Choreography Competition Registration opens at 5:30pm, competition begins at 6:00pm. -
Melodic Identity and Tune Resemblance Karen E. Mcaulay
1 ABSTRACTS (grouped by session) Session 1: Melodic Identity and Tune Resemblance Karen E. McAulay (Royal Conservatoire of Scotland, Glasgow) ‘All the right notes, but not necessarily in the right order’*: Musical Resemblances over the Border The appealing Northumbrian pipe-tune, “I saw my love come passing by me”, appears in at least three nineteenth century sources, and again in Cock’s Tutor for the Northumbrian Half-Long Bagpipes. The latest two of these are shorter, whilst the first two elaborate the tune with variations. Nonetheless, the resemblances are clear; their kinship is indisputable. However, there are two much earlier appearances of similar tunes in publications north of the border. A century older, each has a different title, and although the shapes of these tunes are undeniably similar, they are certainly neither identical forerunners to one another, nor to “I saw my love”. Indeed, one source was linked in 1925 to a totally different tune. Notwithstanding this earlier identification, I dispute the similarity, and propose that there is some kind of link between “I saw my love” and her earlier Scottish cousins. Whilst the Tune Archive enabled me to trace the iterations of the Border tunes, it failed to flag up these Scottish tunes as potential relatives, partly because their rhythmic notation means the Theme Code index failed to pick up the same strong beats. I propose to demonstrate the methodology I have adopted to attempt to prove my hypothesis. If I’m right, it suggests that before I saw my love come passing by me, she had enjoyed a bit of a shadowy Celtic past. -
Scottish Rite Magazine
sUMMER 20 18 The Pine Tree Highlander A P ublication of the St. Andrews Society of Maine The only place to be on that beautiful Saturday is the Topsham Fairgrounds just off Route I-295 in Topsham, Maine. Why is that? It’s really simple! Throughout the day, starting at 8 a.m., pipers will be piping, drummers will be drumming, kilts will be swinging, flags will be flut - tering, dancers will be showing their intricate moves, athletes will be performing at the highest levels, and everyone on the Fairgrounds will be hav - ing a wonderful time. But there’s so much more. Your Games Committee has really gone way out to make this important Scottish Festival anniversary edition one for the books. Consider the additional events planned for your enjoyment. Throughout the day there’ll be perform - ances in Fiddler’s Glen where, you guessed it, fiddle music and balladeers, among others, will be per - forming for enjoyment of all. There also are Celtic bands, harpers, Historical Highlanders, a great selection of mouth-watering Scottish food, a huge selection of merchandise to peruse and select from, and a large contingent of Scottish clans will be on hand to answer questions, share history, add pageantry and perhaps even offer a piece of deli - cious shortbread to visitors at their tent sites. More Games Info on Page 2 & 3 Friday night everyone is invited to a Celtic Ceilidh at the Topsham Fairgrounds that will kick off the 40th annual Maine Highland Games and Scottish Festival. The ceilidh starts at 6 p.m. -
Amateur Medal Tests & Grade Examinations
AMATEUR MEDAL TESTS & GRADE EXAMINATIONS SCOTTISH DANCE TEACHERS’ ALLIANCE HIGHLAND BRANCH AMATEUR MEDAL TEST & GRADE EXAMINATIONS INDEX Page Rules and Conditions 3 Timetable 4 MEDAL TESTS Highland 5 - 8 Scottish National 9 Scottish National One Dance 10 Irish Jig 11 Sailor’s Hornpipe 13 Choreography 15 Group Performance Awards 16 GRADE EXAMINATIONS Primary 17 Grades 1 to 6 17 - 20 There will be a transitional period of one year, during 2017, when either syllabus will be accepted. Syllabus Edition 2017 - Available from 1st January 2017 and compulsory from 1st January 2018. To be used in conjunction with 8th edition SOBHD text book. Amateur Medal Tests Syllabus Revised 2008 Edition – Available until 31 December 2017 and to be used in conjunction with 7th edition SOBHD text book. Grade Examinations syllabus 2015 Edition – Available until 31 December 2017 and to be used in conjunction with 7th edition SOBHD text book. Page 2 of 20 RULES AND CONDITIONS FOR MEDAL TESTS 1. Candidates will be tested on demonstration only and the technique must conform to that laid down by the SOBHD. 2. Suitable attire should be worn, wearing of jewellery is prohibited. Appropriate practice wear will be accepted for all tests, if kilt or national outfit is not available. 3. Teachers shall ensure suitable music is provided. The music operator must be over 16 years of age. They may not have any contact with the candidates and should be seated facing away from the dancers, able to see the Examiner only. The music operator should leave the studio at all breaks. 4. Teachers should not remain in the Examination room, with the exception of the Dance Stars test. -
Compton Stage
Compton Stage 10:30 AM Bear Hill Bluegrass Bear Hill Bluegrass takes pride in performing traditional bluegrass and gospel, while adding just the right mix of classic country and comedy to please the audience and have fun. They play the familiar bluegrass, gospel and a few country songs that everyone will recognize, done in a friendly down-home manner on stage. The audience is involved with the band and the songs throughout the show. 11:10 AM T-Mart Rounders The T-Mart Rounders is an old-time trio that consists of Kevin Chesser on claw-hammer banjo, vocalist Jesse Milnes on fiddle and Becky Hill on foot percussion. They re-envision percussive dance as another instrument and arrange traditional old-time tunes using foot percussion as if it were a drum set. All three musicians have spent significant time in West Virginia learning from master elder musicians and dancers. Their goal with this project is to respect the old-time music tradition while pushing its boundaries. In addition to performing, they teach flatfooting/ clogging, fiddle, claw-hammer banjo, guitar and songwriting workshops, and call/play at square dance. 11:50 AM Hickory Bottom Band Tight three-part harmonies, solid pickin’ and lots of fun are the hallmarks of this fine Western Pennsylvania-based band. Every member has a rich musical history in a variety of genres, so the material ranges from well-known and obscure bluegrass classics to grassy versions of select radio hits from the past 40 years. No matter the music’s source, it’s “all bluegrass” from this talented bunch! 12:30 PM Davis & Elkins College Appalachian Ensemble The Davis & Elkins College Appalachian Ensemble, a student performance group led by string band director Emily Miller and dance director William Roboski, is dedicated to bringing live traditional music and dance to audiences in West Virginia and beyond. -
2006 Issue 2 the Participaper
TTHEHE PPARARTICIPTICIPAPERAPER AN INVERNESS COUNTY PERIODICAL John Dan (Smokey) MacNeil of Creignish Volunteer of the Year 2006 Vol 27, No 2 April/May 2006 The Participaper Page 1 FROM THE DIRECTOR’S DESK The Participaper INVERNESS COUNTY RECREATION, TOURISM, Editor, Graphic Design and Production Marie Aucoin CULTURE AND COMMUNITY DEVELOPMENT OFFICE PO Box 43, Cheticamp, NS, B0E 1H0 Phone: (902) 224-1759 VOLUNTEER RECOGNITION email: [email protected] This year the Municipality received (for subscription requests see below) over 30 nominations from organizations The Participaper is published five times a year by the Inverness County Department of Recreation and Tourism: throughout the County wishing to honour John Cotton, Director. Contributions of information and their hard working volunteers. Congratulations to all! articles, photos and artwork are welcome. We also welcome For more information on the volunteers who received your letters and comments. This publication is a service for the residents of Inverness County. Others may subscribe at awards at this year’s ceremony, see inside this issue. the following rates (postage included): $8.00/yr in Canada or $9:00/yr in the US. Send subscription request, with payment, to the attention of: JUNE IS RECREATION MONTH – Marie Cameron STAY ACTIVE AND HEALTHY YOUR WAY Recreation and Tourism Department PO Box 179, Municipal Building In Nova Scotia, June is proclaimed Recreation Month, Port Hood, NS, B0E 2W0 a celebration in which we recognize and celebrate the Email: [email protected] contributions recreation makes to the quality of life in Copyright 8 2006 All rights reserved. No part of this periodical may be used or reproduced in any Nova Scotia. -
Daly Berman 1 Amanda Elaine Daly Berman Boston University, Graduate School of Arts and Sciences Department of Musicology And
Daly Berman 1 Amanda Elaine Daly Berman Boston University, Graduate School of Arts and Sciences Department of Musicology and Ethnomusicology Repression to Reification: Remembering and Revitalizing the Cape Breton Musical Diaspora in the Celtic Commonwealth INTRODUCTION Cape Breton Island, the northeast island of the Canadian province of Nova Scotia, has long had a strong connection with New England, and the Boston area in particular, due to its maritime location and relative geographic proximity. At its peak in the mid-20th century, the Boston Cape Breton community is estimated to have numbered close to 100,000 members. However, as Sean Smith writes in the June 3, 2010 issue of the Boston Irish Reporter, Greater Boston’s Cape Breton community is undergoing a transition, with the graying of the generation that played such a major role during the 1950s and 1960s in establishing this area as a legendary outpost for music and dance of the Canadian Maritimes. Subsequent generations of Cape Bretoners have simply not come down to the so-called “Boston states” on the same scale, according to the elders; what’s more, they add, the overall commitment to traditional music and dance hasn’t been as strong as in past generations.1 Further, he notes that it is “non-Cape Bretoners [e.g., members of other Maritime communities, non-Cape Breton Bostonians] who seem to make up more of the attendance at these monthly dances” held at the Canadian-American Club (also known as the Cape Breton Gaelic Club) in Watertown, Massachusetts. The club serves as a gathering site for area members of the Cape Breton and the greater Maritime diaspora, offering a monthly Cape Breton Gaelic Club Ceilidh and weekly Maritime open mic sessions. -
John Campbell and the Cape Breton Fiddle Tradition
studying culture in context John Campbell and the Cape Breton fiddle tradition George Ruckert Excerpted from: Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger First published in 2008 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-5-7 About the author: George Ruckert, Senior Lecturer in Music at MIT, is a long time student of the great Indian sarod master, Ali Akbar Khan. In his career as a sarodist, he has played at concerts throughout the USA, India, Europe, and Canada. He has published five books on the music of North India. A fiddler as well, he is the author of The Music of John Campbell – A Cape Breton Legacy, due to be published by MelBay. Copyright © 2008 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 12 John Campbell and the Cape Breton fiddle tradition GEORGE RUCKERT e are at a Saturday night dance in the Mabou region of Cape Breton Island in WJuly, 2004. The fiddler, young Andrea Beaton, accompanied on piano by Mac Morin, plays a set of jigs for the noisy, sweaty, joyful dancers. -
Traditional Piano Accompaniment in Cape Breton
Traditional Piano Accompaniment in Cape Breton Chris McDonald, Cape Breton University My most recent research is on accompaniment prac- and Cape Breton – a popular destination for Cape tices in the fiddle tradition of Cape Breton Island, Bretoners seeking work from the late 1800s – may Nova Scotia. In particular, I am looking at the piano have provided one avenue of influence. Many early style that developed here, as it is something which Irish-American fiddle recordings came from New has become almost uniquely associated with the Isl- England, and these were often unidiomatically ac- and’s dance and fiddle traditions. It is interesting, in companied by session pianists playing in a rhythmi- part, because fiddle traditions in places like Ireland, cally driving bass/chord style known as “stride”. The Newfoundland, Appalachia, Texas, and so on, tend to earliest 78-rpm recordings of Cape Breton fiddling prefer accompaniment from plucked stringed instru- (1928-36) feature pianists playing in this style. ments. In some cases, especially in Irish traditional Another possibility is that the pump organ, which sessions, accompaniment is not even considered es- was most conveniently played in an up-down bass- sential; the layering of melodic instruments (fiddle, chord style as the player pumped the pedals, led to bouzouki, accordion, small pipes, banjo) is enough to this rhythmic feel. Several Cape Breton pianists, such thicken the texture. Marie MacLellan, had early experience learning on In Cape Breton, the adoption of the piano as an organs. accompanying instrument seems to date back to the By the 1950s, the stride style of accompaniment 1910s, and by the 1940s and ’50s, the instrument was had been firmly established, and a new generation of virtually obligatory at any house ceilidh or square pianist began to put their mark on the style.