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Bieito Romero Diéguez, Miguel Ocampo Bermúdez and the Brothers Miguel and Pablo Rosales Reboiras
BIOGRAPHY Dequenvessendo is a Galician music group born in 2016 within the Cultural Association Triskell de Armentón (Arteixo), inspired by the idea of forming a project based on traditional music quartets. In the beginning, it was formed by Bieito Romero Diéguez, Miguel Ocampo Bermúdez and the brothers Miguel and Pablo Rosales Reboiras. Little by little, they begin to introduce themselves in the folk music, inspired by the way of making music of groups like Luar na Lubre, Milladoiro, Silly Wizard or The Tannahil Weavers, clearly framed in the Atlantic Celtic folk. During this time the group participated in numerous prestigious “foliadas”,such as the Cantos de Taberna of Folgoso do Courel or the Foliada de A Fonsagrada. They were invited, in 2017, to play at the opening ceremony of the Exhibition of the XXX Anniversary of Luar Na Lubre; in a concert-conference held at the headquarters of the Paideia Foundation in A Coruña; at the II Festival Lágrimas de San Lorenzo, in Pumarín (Balboa), at Fiestas de Bardaos (San Sadurniño); as well as in the 34th edition of the Carballeira de Zas Festival; among others... The first concert the band did outside of Galicia was at Noche de San Juan of 2017 in Cubillos del Sil (El Bierzo). In this performance, they understand the need to incorporate more instrumentalists to enrich the musicality of the group. Besides, during I Romería de Sisalde (Arteixo), a few months later, the guitarist Natahel Regueiro joined the group. During 2018, in a concert at Jardines de Méndez Núñez (A Coruña), the band obtained its current formation, with the incorporation of Irene Cerqueiro as vocalist and instrumentalist. -
Hot Dancing from Southwest Louisiana Contra Magic
DANC FOLK E ISSUE FREE Volume 1 Number 5 September/October 2001 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY “Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers Hot Dancing From Southwest Louisiana BY PETER PARRISH ajun/Zydeco music and dance from the prairies ber of local bands as well as a steady stream of excellent and bayous of Southwest Louisiana and East Texas bands from Southwest Louisiana and East Texas. These tour- is one of the most exciting and enduring folk/roots ing bands come to California for 2 or 3 weeks at a time, play- dance scenes in California. Largely supported by ing for dances from San Diego to Sacramento, and Oregon expatriates from the Southwest Louisiana and East and Washington. Texas regions, this music and dance can be found In addition to these regular and church dances, California at regular monthly dances, “church dances”, and hosts several annual Cajun/Zydeco summer festivals. Good C clubs like the House of Blues. examples of these festivals are those held in Long Beach, San The Cajun/Zydeco scene in California owes Diego, Reno and the Sacramento area. its roots to a considerable number of Louisiana and East Some of the better local bands include the California Texas natives that immigrated to California during and after Cajun Orchestra and André Thierry (Bay Area), Lisa Haley WWII. Today the Bay Area, the Sacramento/San Joaquin and the Zydecats (Los Angeles), Cajun John and the San Valley and Southern California are home to large numbers of Diego Playboys, and Acadiana (Santa Barbara). -
The Galician Fiddle Style Alfonso Franco Vásquez
studying culture in context The Galician fiddle style Alfonso Franco Vásquez Excerpted from: Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 Edited by Ian Russell and Anna Kearney Guigné First published in 2010 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-6-5 About the author: Alfonso Franco Vásquez has a professional degree in the violin and has undertaken doctoral studies in traditional Galician music at the University of Santiago de Compostela. He is a teacher of the fiddle in the Folk Music Conservatory of Vigo ‘e-Trad’, and is responsible for the string section of the folk orchestra ‘Sondeseu’. Copyright © 2010 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/. 16 The Galician fiddle st le ALFONSO FRANCO VÁZQUEZ n providing an overview of such a specific music style as the Galician fiddle, it Iis important to include a brief introduction to the history of the country itself in order to understand the origins of this music, which has incorporated throughout the centuries the influences of significant events, as usually happens in traditional genres. -
Julho 2017 Tese De Doutoramento Em Ciências Musicais
Spatializing Galician Music at the International Festival of the Celtic World of Ortigueira Ana-María Alarcón-Jiménez Tese de Doutoramento em Ciências Musicais (Etnomusicologia) Julho 2017 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Ciências Musicais (Etnomusicologia), realizada sob a orientação científica das professoras Doutoras Salwa El-Shawan Castelo-Branco e Cristina Sánchez-Carretero Aos meus pais, Hernando e Pilar, meus irmãos, Andrés e Camilo, meu sobrinho, Dante, e ao meu companheiro de viagem, Luis 2 ACKNOWLEDGEMENTS I would like to thank, first and foremost, my dissertation advisors Dr. Salwa El Shawan Castelo-Branco and Dr. Cristina Sánchez-Carretero. I am especially grateful for their continuous support and their intellectual and moral encouragement, sent tirelessly from and to different points of the Iberian Peninsula. In addition to the travels related to my field research in Galicia (Spain) and to the completion of my Ph.D. courses in Lisbon (Portugal), the writing of this dissertation took place on the move, as I came to a new continent, got a new nationality, and changed my city of residence three different times. Dr. Castelo-Branco and Dr. Sánchez-Carretero have been moving with me as advisors, by making use of the latest communication technologies as well as of online and off-line academic resources. This dissertation is one of the results of the research project entitled Celticism and its Musical Repercussions in Galicia and Northern Portugal, supported by the Fundação para a Ciência e a Tecnologia, coordinated by Professor Salwa El-Shawan Castelo-Branco and based at the Instituto de Etnomusicologia-Centro de Estudos em Música e Dança (INET M-D), of the Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa.