Vol 20, No 3.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rhythm Bones Player a Newsletter of the Rhythm Bones Society Volume 10, No
Rhythm Bones Player A Newsletter of the Rhythm Bones Society Volume 10, No. 3 2008 In this Issue The Chieftains Executive Director’s Column and Rhythm As Bones Fest XII approaches we are again to live and thrive in our modern world. It's a Bones faced with the glorious possibilities of a new chance too, for rhythm bone players in the central National Tradi- Bones Fest in a new location. In the thriving part of our country to experience the camaraderie tional Country metropolis of St. Louis, in the ‗Show Me‘ state of brother and sisterhood we have all come to Music Festival of Missouri, Bones Fest XII promises to be a expect of Bones Fests. Rhythm Bones great celebration of our nation's history, with But it also represents a bit of a gamble. We're Update the bones firmly in the center of attention. We betting that we can step outside the comfort zones have an opportunity like no other, to ride the where we have held bones fests in the past, into a Dennis Riedesel great Mississippi in a River Boat, and play the completely new area and environment, and you Reports on bones under the spectacular arch of St. Louis. the membership will respond with the fervor we NTCMA But this bones Fest represents more than just have come to know from Bones Fests. We're bet- another great party, with lots of bones playing ting that the rhythm bone players who live out in History of Bones opportunity, it's a chance for us bone players to Missouri, Kansas, Illinois, Oklahoma, and Ne- in the US, Part 4 relive a part of our own history, and show the braska will be as excited about our foray into their people of Missouri that rhythm bones continue (Continued on page 2) Russ Myers’ Me- morial Update Norris Frazier Bones and the Chieftains: a Musical Partnership Obituary What must surely be the most recognizable Paddy Maloney. -
Compton Music Stage
COMPTON STAGE-Saturday, Sept. 18, FSU Upper Quad 10:20 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. 11:00 AM The Jesse Milnes, Emily Miller, and Becky Hill Show This Old-Time Music Trio re-envisions percussive dance as another instrument and arrange traditional old-time tunes using foot percussion as if it was a drum set. All three musicians have spent significant time in West Virginia learning from master elder musicians and dancers and their goal with this project is to respect the tradition the have steeped themselves in while pushing the boundaries of what old-time music is. 11:45 AM Ken & Brad Kolodner Quartet Regarded as one of the most influential hammered dulcimer players, Baltimore’s Ken Kolodner has performed and toured for the last ten years with his son Brad Kolodner, one of the finest practitioners of the clawhammer banjo, to perform tight and musical arrangements of original and traditional old-time music with a “creative curiosity that lets all listeners know that a passion for traditional music yet thrives in every generation (DPN).” The dynamic father-son duo pushes the boundaries of the Appalachian tradition by infusing their own brand of driving, innovative, tasteful and unique interpretations of traditional and original fiddle tunes and songs. -
Traditions Music Black Secularnon-Blues
TRADITIONS NON-BLUES SECULAR BLACK MUSIC THREE MUSICIANS PLAYING ACCORDION, BONES, AND JAWBONE AT AN OYSTER ROAST, CA. 1890. (Courtesy Archives, Hampton Institute) REV JAN 1976 T & S-178C DR. NO. TA-1418C © BRI Records 1978 NON-BLUES SECULAR BLACK MUSIC been hinted at by commercial discs. John Lomax grass, white and black gospel music, songs for IN VIRGINIA and his son, Alan, two folksong collectors with a children, blues and one anthology, Roots O f The Non-blues secular black music refers to longstanding interest in American folk music, Blues devoted primarily to non-blues secular ballads, dance tunes, and lyric songs performed began this documentation for the Library of black music (Atlantic SD-1348). More of Lomax’s by Afro-Americans. This music is different from Congress in 1933 with a trip to the State recordings from this period are now being issued blues, which is another distinct form of Afro- Penitentiary in Nashville, Tennessee. On subse on New World Records, including Roots Of The American folk music that developed in the deep quent trips to the South between 1934 and 1942, Blues (New World Records NW-252). * South sometime in the 1890s. Blues is character the Lomaxes cut numerous recordings, often at In recent years the emphasis of most field ized by a twelve or eight bar harmonic sequence state prisons, from Texas to Virginia.2 They researchers traveling through the South in search and texts which follow an A-A-B stanza form in found a surprising variety of both Afro-American of Afro-American secular music has been on the twelve bar pattern and an A-B stanza form in and Anglo-American music on their trips and blues, although recorded examples of non-blues the eight bar pattern. -
Country Dance and Song and Society of America
I ,I , ) COUNTRY DANCE 1975 Number 7 Published by The Country Dance and Song AND Society of America EDITOR J. Michael Stimson SONG COUNTRY DANCE AND SONG is published annually. Subscription is by membership in the Society. Members also receive occasional newsletters. Annual dues are $8 . 00 . Libraries, Educational Organi zations, and Undergraduates, , $5.00. Please send inquiries to: Country Dance and Song Society, 55 Christopher Street, New York, NY 10014. We are always glad to receive articles for publication in this magazine dealing with the past, present or future of traditional dance and music in England and America, or on related topics . PHOTO CREDITS P. 5 w. Fisher Cassie P. 12 (bottom) Suzanne Szasz P. 26 William Garbus P. 27 William Garb us P. 28 William Garb us CONTENTS AN INTERVIEW WITH MAY GADD 4 TRADITION, CHANGE AND THE SOCIETY Genevieve Shimer ........... 9 SQUARE DANCING AT MARYLAND LINE Robert Dalsemer. 15 Copyright€>1975 by Country Dance Society, Inc. SONGFEST AND SLUGFEST: Traditional Ballads and American Revolutionary Propaganda Estelle B. Wade. 20 , CDSS REVISITS COLONIAL ERA • . • . • . • . • • . 26 TWO DANCES FROM THE REVOLUTIONARY ERA Researched by James Morrison ..................••. 29 CHEERILY AND MERRILLY: Our Music Director's Way with Singing Games and Children Joan Carr.............. 31 STAFF AND LEADERS'CONFERENCE Marshall Barron .•.......... 35 SALES James Morrison ............. 40 CDSS CENTERS .•......•.............•••.. 49 A: Well, they didn't have bands so much. Cecil Sharp was a mar velous piano player, AN INTERVIEW WITH and he had a wonder ful violinist, Elsie Avril, who played with him right from the be MAY GADD... ginning. We had just piano and violin in those days for all but the big theater This is the first part of an interview by Joseph Hickerson, performances. -
FREE CONCERTS JOIN US for Music in the Garden Wednesdays at 7 P.M
FREE CONCERTS JOIN US FOR Music in the Garden Wednesdays at 7 p.m. in the Murie Building Auditorium Thursdays at 7 p.m. in the Georgeson Botanical Garden The Fairbanks Red Hackle Pipe Band Emily Anderson JULY 6 Emily’s a local Indie/Folk singer- songwriter and a graduate of Berklee College of Music. Her music, influenced by Carole King, Ingrid Michaelson, and Regina Spektor, MAY 25 For over thirty years this band has shared its love ranges from sentimental to humorous. for Highland piping, drumming, and dance. Dry Cabin String Band Headbolt Heaters JULY 13 Dry Cabin String Band JUNE 1 These three songwriters’ plays and sings hard driving, eclectic sound taps into roots, rock, traditional bluegrass, featuring blues, bluegrass and an underbelly guitar, fiddle, banjo, and bass. of punk. FSAF Celtic Ensemble O Tallulah JULY 20 Revel in the unique JUNE 8 This family trio of sights and sounds of singer-songwriters, home traditional Irish music with grown in the Golden Heart of tin whistle, Irish guitar, Alaska, performs classic bodhrán, Irish flute, bones and Irish dancing. country, folk and gospel. FSAF Brazilian Ensemble Marc Brown & The Blues Crew JULY 27 Jamie Maschler on JUNE 15 Marc, a Koyukon accordion and Finn Magill on Athabascan, and his band have 12 fiddle bring the lively spirit of CDs and have blown away regional Brazilian music to Fairbanks. and national competitions. Fairbanks Community Jazz Band Rock Bottom Stompers AUGUST 3 This traditional Big JUNE 22 Rock Bottom Stompers Band and its guests mix swing era bring to you soulful, stompable tunes dance tunes with Latin, Bop, and featuring sweet lonesome harmonies. -
Paradigmatic of Folk Music Tradition?
‘Fiddlers’ Tunebooks’ - Vernacular Instrumental Manuscript Sources 1860-c1880: Paradigmatic of Folk Music Tradition? By: Rebecca Emma Dellow A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music June 2018 2 Abstract Fiddlers’ Tunebooks are handwritten manuscript books preserving remnants of a largely amateur, monophonic, instrumental practice. These sources are vastly under- explored academically, reflecting a wider omission in scholarship of instrumental music participated in by ‘ordinary’ people in nineteenth-century England. The tunebooks generate interest amongst current folk music enthusiasts, and as such can be subject to a “burden of expectation”,1 in the belief that they represent folk music tradition. Yet both the concepts of tradition and folk music are problematic. By considering folk music from both an inherited perspective and a modern scholarly interpretation, this thesis examines the place of the tunebooks in notions of English folk music tradition. A historical musicological methodology is applied to three post-1850 case-study manuscripts drawing specifically on source studies, archival research and quantitative analysis. The study explores compilers’ demographic traits and examines content, establishing the existence of a heterogeneous repertoire copied from contemporary textual sources directly into the tunebooks. This raises important questions regarding the role played by publishers and the concept of continuous survival in notions of tradition. A significant finding reveals the interaction between aural and literate practices, having important implications in the inward and outward transmission and in wider historical application. The function of both the manuscripts and the musical practice is explored and the compilers’ acquisition of skill and sources is examined. -
Internet Search 1999
Internet Research On Rhythm Bones October 1999 Steve Wixson 1060 Lower Brow Road Signal Mountain, TN 37377 423/886-1744 [email protected] Introduction This document presents the current state of 'bone playing' and includes the results of a web search using several search engines for 'rhythm bones', 'rattling bones' and 'bone playing'. It is fairly extensive, but obviously not complete. The web addresses are accurate at the time of the search, but they can go out of date quickly. Web information pertaining to bones was extracted from each website. Some of this information may be copyrighted, so anyone using it should check that out. Text in italics is from e-mail and telephone conversations. We would appreciate additions - please send to name at end of this document. The following is William Sidney Mount's 'The Bone Player.' A. General 1. http://mcowett.home.mindspring.com/BoneFest.html. 'DEM BONES, 'DEM BONES, 'DEM RHYTHM BONES! Welcome to Rhythm Bones Central The 1997 Bones Festival. Saturday September 20, 1997 was just another normal day at "the ranch". The flag was run up the pole at dawn, but wait -----, bones were hanging on the mail box. What gives? This turns out to be the 1st Annual Bones Festival (of the century maybe). Eleven bones-players (bone-player, boner, bonist, bonesist, osyonist, we can't agree on the name) and spouses or significant others had gathered by 1:00 PM to share bones-playing techniques, instruments and instrument construction material, musical preferences, to harmonize and to have great fun and fellowship. All objectives were met beyond expectations. -
Jean Thomas' American Folk Song Festival : British Balladry in Eastern Kentucky
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 4-1978 Jean Thomas' American Folk Song Festival : British balladry in Eastern Kentucky. Marshall A. Portnoy University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Portnoy, Marshall A., "Jean Thomas' American Folk Song Festival : British balladry in Eastern Kentucky." (1978). Electronic Theses and Dissertations. Paper 3361. Retrieved from https://ir.library.louisville.edu/etd/3361 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. JEAN THOMAS' AfiERICAN FOLK SONG FESTIVAL: ''. BRITISH BALLADRY IN EASTERN KENTUCKY ·By . Marshall A. Portnoy '" B.A., Yale University, 1966 M.S., Southern Connecticut State College, 1967 B. Mus., The Jewish Theological Seminary of America, 1971 Diploma of Hazzan, School of Sacred Music of The Jewish Theological Seminary of America, 1971 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Music History Division of Humanities University of Louisville Louisville, Kentucky April 1978 © 1978 MARSHALL ALAN PORTNOY ALL RIGHTS RESERVED JEAN THOMAS' AMERICAN FOLK SONG FESTIVAL: BRITISH BALLADRY IN EASTERN KENTUCKY By Marshall A. -
Notes with Janet Harbison's Workshop
Notes with Janet Harbison’s Workshop - “From Bones to Beautiful: The Old Leitrim Jig” Developing traditional Irish dance music Traditional Irish music is a creative performer’s art! Right from the very beginning, we are invited ‘to learn the tunes, join the community of players (‘in the session’), and ‘make the music our own’. ‘Making the music your own’ is a core characteristic of traditional musicianship – and the greatest pleasure for us musicians is in social playing (‘in the session’) where all participants are playing their own interpretations of tunes from a core repertoire of known traditional tunes. This individual contribution to the music is ‘ornamentation and variation’ with the melody (for all instruments), and chords, base-lines, other notes, ‘voices’ and countermelodies – maybe even descants for all instruments with a potential for accompanying! This creative potential is exciting and always adds challenge and interest to music playing. For us harpers, this is our great adventure! The idea of a session with everyone ‘doing their own thing’ might seem ‘disorganised’ to the uninitiated! Because everyone adheres to the ‘bones’ (basic notes) of the tune, the overall sound is always clear and energetic while the detail of individual players is brilliant and decorative. The aspect of what the left hand does is also grown from the ‘bones’ of the harmony. Every tune has it’s ‘natural harmony’ (it’s own chord plan that is shaped by the tune itself – a very ‘Irish’ characteristic) and, when there are a number of accompaniment-potential-instruments (harps, keyboards, guitars, bazoukis etc) participating in a session, of course there is the potential for a mess if everyone pushes forward with their own ideas of accompaniment schemes. -
The Extent to Which American Children's Folk Songs Are Taught by General Music Teachers Throughout the United States
THE EXTENT TO WHICH AMERICAN CHILDREN’S FOLK SONGS ARE TAUGHT BY GENERAL MUSIC TEACHERS THROUGHOUT THE UNITED STATES By MARILYN J. WARD A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2003 Copyright 2003 by Marilyn J. Ward ACKNOWLEDGMENTS I would like to thank God for His help in this endeavor. I believe that He was responsible for the good response rate and provided direction, assistance, and wisdom along the way. I would also like to thank my mother, Dr. Iva Maybelle Hollingshead, who funded and personally delivered, retrieved, and processed the information from the majority of elder study instruments. Not only did my mother physically and financially assist in this project, she has also been a constant source of inspiration and encouragement throughout my life. I owe a great debt of gratitude to both my mother and father, who are some of the most wonderful people I have ever known. Sincere appreciation is expressed to the members of my supervisory committee for their insight, wisdom, and wonderful suggestions for improvement through the many stages of this research study: Dr. Russell Robinson (chairman, music education); Dr. Charles Hoffer (music education); Dr. Budd Udell (theory/composition); and Dr. David Young (directing/theatre). Many thanks are extended to Brad Ward, my husband, who has ever so graciously funded this project, in its enormity. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................ -
The Celtic Harp at Stonehenge
The Celtic Harp At Stonehenge - structure in ancient Celtic thought ©1994 CW BAYER 1 © 1994 by C. W. Bayer Library of Congress Catalog Card Number 94-092038 ISBN 0-9628890-1-6 www.nevadamusic.com All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the author. See more books at: www.nevadamusic.com 2 And now, for lords who understand, I'll tell a fable: once a hawk, high in the clouds, clutched in his claws a speckled nightingale. She, pierced by those hooked claws, cried, 'Pity me!' But he made a scornful answer: 'Silly thing, why do you cry? Your master holds you fast, you'll go where I decide, although you have a minstrel's lovely voice, and if I choose, I'll have you for a meal.... Hesiod, Works and Days, c.700BC 1 There are some, although few indeed, on whom divine favour has bestowed the gift of contemplating, clearly and very distinctly, with scope of mind miraculously enlarged, in one and the same moment, as though under one ray of the sun, even the whole circle of the whole earth, with ocean and sky above it. St. Columba c. 580AD2 The nation that disdains the mission of art invites the fate of having nothing to look backward to with pride and nothing to look forward to with hope. Amherst College, Oct. 26, 1963, John F. Kennedy 3 Contents INTRODUCTION ......................................................................................................................................... -
Ryan's Mammoth Collection Alphabetical Tune Index To
Ryan's Mammoth Collection alphabetical tune index to accompany PDF file found at http://violinsheetmusic.org/collections title page alternate title 42d Highland Regiment Strathspey 243 7th Regiment Reel 92 A' Willie, We Have Miss'd You Strathspey 248 Abitha Muggins' Favorite Reel 14 Acacia Reel 78 Acrobat's Hornpipe 193 Admirals' Hornpipe 199 After The Hare Reel 66 Albemarle Hornpipe 177 Aldridge's Hornpipe 170 The Alhambra Reel 42 Alistair Maclalastair Strathspey 250 "All Aboard" Reel 60 "All The Go" Reel 67 "All The Rage" Reel 77 All The Way To Galway Reel 39 Ally Croaker's Favorite Reel 8 Almack's Hornpipe 222 Amateur Hornpipe 176 Amazon Hornpipe 193 American Hornpipe 226 American Rifle Team Hornpipe 200 Andrew Carey's Jig 152 Annie Hughes' Jig 163 Apollo Club Hornpipe 217 Arbana Reel 33 Ariel Hornpipe 178 Arkansas Traveller Reel 5 Army And Navy Reel 77 Around The World Reel 55 Aspinwall Hornpipe 190 Atlanta Hornpipe 215 Autograph Hornpipe 194 Avalanche (Lancashire) Clog 237 Babbit's Hornpipe 225 The Bag Of Meal Jig 147 Balkan Hornpipe 179 Ball And Pin Hornpipe 192 Bamford Hornpipe 169 Ban Backus' Favorite Reel 58 Banjo Reel 4 The Banks Of Enverness Reel 19 Banks Of Lock-Ness Strathspey 252 Page 1 of 25 Ryan's Mammoth Collection alphabetical tune index to accompany PDF file found at http://violinsheetmusic.org/collections title page alternate title Bannocks' O' Barley Meal Jig 101 Barney Brallagan's Jig 113 Barney's Goat Jig 135 "Beautiful Swanee River" Hornpipe 213 Beaux Of Oak Hill Reel 52 Because He Was A Bonnie Lad Reel 88 Beebe's