BRT Past Schedule 2004
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Living Tradition Connemara Article.Pdf
Seán ‘ac Dhonncha influenced him greatly. He earned 1999 (Cló Iar-Chonnacht CICD140 a reputation as one of Ireland’s Rogha Amhrán). The references (Johnny Joe Pheaitsín – 1919-1996) finest traditional singers, and had to Loughrea, Portumna and a wide repertoire of songs in both the Shannon, however, would Irish and English. He won the suggest that the song might have Oireachtas Sean-Nós Competition originated in the east of County in 1953 and was awarded the Galway. One story tells that the ‘Gradam Shean-Nós Cois Life’ lovers’ plan to marry was opposed in 1995. He was the first singer by the girl’s family and that the to be recorded by Gael Linn on young couple eloped. Her family their series of 78rpm recordings pursued them and the poet made in 1957: these recordings are good his escape by swimming now available on Seoltaí Séide the Shannon river, leaving his (Gael Linn CEFCD184). Other beloved behind. He emigrated recordings include An Aill Bháin - to America and in his chagrin he The White Rock (Claddagh CC9) vowed to marry the first woman he and An Spailpín Fánach (Cló Iar- encountered there and so wound Chonnachta CICD006), plus tracks up marrying a ‘street woman’. on various compilations including, Grand Airs Of Connemara (Topic Seán sings a ‘macaronic’ 12T177), More Grand Airs Of version of the song, a version Connemara (Topic 12T202) and that is in both the Irish and A recent and important release on the Veteran Amhráin Ar An Sean-Nós (RTÉ CD English languages. Macaronic 185). songs seem to have gained label featuring the sean-nós singing of several currency during the 19th key singers from around Co. -
1.4Oti a Week Ending A° 11`,4, 2° 2172 AI 16 Of, 21 26 .46 October 16, 1993 24M 25 No
November St, MON TVEWED TNU FR! SET WEEKLY 1 2345 6 Oct?"6De:oToo II $3.00 2. 7 8 91011 12 13 1993 ,TA',"° A vt,""" 1415 16171819 20 $2.80 plus .20 GST 22 23242526 27 5 61 9 21 Volume 58 No. 14 4 A4AS16 2829 30 1.4oti A Week Ending A° 11`,4, 2° 2172 AI 16 of, 21 26 .46 October 16, 1993 24m 25 No. 1 HIT BLIND MELON Blind Melon ANNE MURRAY Croonin' MELISSA ETHERIDGE Yes I Am LOADED Various Artists SMASHING PUMPKINS DREAMLOVER Siamese Dream Mariah Carey INNER CIRCLE Columbia Bad To The Bone SCORPIONS Face The Heat : JUDGEMENT NIGHT SOUNDTRACK Various Artists THE CURE Show EVERYBODY HURTS R.E.M. HIT PICK NAKED RAIN The Waltons PET SHOP BOYS LOVIN' ARMS Very COUNTRY Darden Smith ADDS SPIRIT OF THE WEST PINK CASHMERE Faithlift Prince RISE AGAIN CULTURE BEAT SUNDAY MORNING The Rankin Family Serenity Earth Wind & Fire SAY THE WORD DUFF McKAGAN ALL THAT SHE WANTS Joel Feeney Believe In Me Ace Of Base THIS OLD HOUSE REN & STIMPY WILD WORLD Lynne & The Rebels You Eediot Mr. Big FALLIN' NEVER FELT SO GOOD: HEAL IT UP REBA McENTIRE THE MOMENT YOU WERE MINE . Shawn Camp Concrete Blonde Greatest Hits Volume Two Beth Neilsen Chapman I.R.S. RUNAWAY ALBUM PICK No. 1 ALBUM EnVogueOVE THE WISH Mae M000re ART OF LIVING The Boomers POSSESSIONS MAKE LOVE TO ME Sarah McLachlan Anne Murray AND IF VENICE IS SINKING SEND ME A LOVER Spirit Of The West Taylor Dayne RUBBERBAND GIRL LET ME SHOW YOU Kate Bush Dan Hill ,k I BELIEVE FULLY COMPLETELY CANDY DULFER Robert Plant DANCE MIX '93 The Tragically Hip Sax -A -Go -Go Various Artists MR. -
Patrick Street Patrick Street Mp3, Flac, Wma
Patrick Street Patrick Street mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Patrick Street Country: US Released: 1988 Style: Folk, Celtic MP3 version RAR size: 1260 mb FLAC version RAR size: 1266 mb WMA version RAR size: 1193 mb Rating: 4.3 Votes: 736 Other Formats: MIDI AA MMF VOC APE TTA AAC Tracklist Hide Credits 1 Patrick Street / The Carraroe Jig 2 Walter Sammon's Grandmother / Concertina Reel / Brenda McMahon's The Holy Ground 3 Written-By – Gerry O'Beirne 4 The Shores Of Lough Gowna / Contentment Is Wealth / Have A Drink With Me 5 French Canadian Set "La Cardeuse" 6 Loftus Jones The Dream 7a Written By – Andy Irvine Indiana 7b Written-By – Andy Mitchell 8 Martin Rochford's Reel / Roll Out The Barrel / The Earl's Chair 9 Mrs. O'Sullivan's Jig / Caliope House The Man With The Cap 10 Written-By – Colum Sands Credits Accordion – Jackie Daly Engineer, Producer – Donal Lunny Fiddle – Kevin Burke Guitar – Arty McGlynn Keyboards, Bodhrán – Donal Lunny Photography By – Colm Henry Vocals, Bouzouki, Mandolin, Harmonica – Andy Irvine Notes Lyrics included. Barcode and Other Identifiers Barcode: 048248107129 Other versions Category Artist Title (Format) Label Category Country Year Green SIF 1071 Patrick Street Patrick Street (LP, Album) SIF 1071 US 1987 Linnet Kevin Burke , Kevin Burke , Jackie Daly, Jackie Daly, Andy Green CSIF 1071 Andy Irvine, Arty McGlynn CSIF 1071 Ireland 1987 Irvine, Arty Linnet - Patrick Street (Cass) McGlynn Green SIF 1071 Patrick Street Patrick Street (LP, Album) SIF 1071 Ireland 1987 Linnet Green GLCD 1071 Patrick Street Patrick Street (CD, Album) GLCD 1071 US 1988 Linnet Related Music albums to Patrick Street by Patrick Street Capercaillie - Dusk Till Dawn - The Best Of Capercaillie Andy Irvine & Donal Lunny's Mozaik - Changing Trains Patrick Street - No. -
“Voice of Ireland”. Today Tommy Is One of Ireland’S Top Entertainers with Over 6.5 Million Youtube Hits and Over 3.5 Million Album Sales Worldwide
TOMMY FLEMING BIOGRAPHY With his powerfully distinctive voice, Tommy Fleming has been described as the “Voice of Ireland”. Today Tommy is one of Ireland’s top entertainers with over 6.5 million YouTube hits and over 3.5 million album sales worldwide. The youngest of six children, Tommy was born in 1971 in Aclare, County Sligo. His natural singing ability was evident at a young age whilst participating in local talent competitions. While still at school, Tommy formed his first rock band, The Face of February, and embarked on gigging in local pubs. After leaving school Tommy joined a quartet, Jarog, gaining a legion of fans. However, despite this success, record companies weren’t exactly knocking on Tommy’s door. Then a chance encounter with renowned producer and composer Phil Coulter changed all that. In July 1993, Phil heard Tommy performing at a charity event in Westport, County Mayo. Within days Tommy was guesting with Phil and his orchestra at the Opera House (Cork), the National Concert Hall (Dublin) and The University Concert Hall (Limerick). Four months later he was playing to huge audiences across the US and Canada, culminating in two shows in the Boston Symphony Hall and the legendary Carnegie Hall in New York. Tommy’s career then took another leap forward when he was invited by Galway traditional group De Danann, to join them as lead vocalist, following in the footsteps of living legends as Mary Black, Maura O’Connell, Dolores Keane and Paul Brady. The collaboration lasted three years and introduced Tommy to a worldwide audience touring Australia, Hong Kong, China and the US. -
Newsletter 271, November 1979
THE INTERNATIONAL CONCERTINA ASSOCIATION No. 271 N E W S L E T T E R Nov. 1979 President: Rev. Kenneth Loveless, V.R.D., F.S.A., F.S.A. Scot., R.N.R. Secretary: J. Harvey, 44 St. Barnabas Street, London S.W.1. Treasurer: F.J. Hutcherson, 45 Valentine Avenue, Bexley, Kent. Notices The next meeting is our Christmass Social, which is on Saturday 8th December, at Montem School Annexe, Hornsey Road, Holloway, London N.7. from 2.00pm to 6.00pm. Nearest Tube stations are Holloway Road, and Finsbury Park. Note the earlier time than usual. The Annual General Meeting will be held on Saturday January 26th at the Conway Hall, Red Lion Square, Holborn, London. Further details in the next Newsletter. We still have no nominations for next year's committee. If you have any suggestions, write to Jim Harvey, address above. We also need an Auditor. If you think you can do the job, or know someone capable of doing it, please write to John Hutcherson, address above. Christmass Message from the President This year the concertina has been celebrating its 150th anniversary. It is one of only two instruments that we have so far managed to invent, the other being the Northumbrian smallpipes, on which so many young people are beginning to be wonderfully proficient. Our instrument was patented in 1829, and had its heyday in the early years of the 20th century, when it could be described as a 'parlour instrument'. These were the times when families made their own music in their own houses and often invited the neighbours in for what was called a 'musical evening'. -
E08bff68148321589893341.Pdf
Brevard Live January 2017- 1 2 - Brevard Live January 2017 Brevard Live January 2017- 3 4 - Brevard Live January 2017 Brevard Live January 2017- 5 6 - Brevard Live January 2017 Contents January 2017 FEATURES SEAFOOD & MUSIC FESTIVAL PETER YARROW Now held at Shepard Park in Cocoa Columns Beach, the festival features the freshest Peter Yarrow found fame with the 1960s Charles Van Riper folk music trio Peter, Paul and Mary. seafood along with some amazing live entertainment: mega-star, singer- and 22 Political Satire Yarrow co-wrote (with Leonard Lipton) “The Column” one of the group’s greatest hits, “Puff, songwriter, legend John McLean and the Magic Dragon”. reggae legends, The Original Wailers. Page 17 Calendars Page 11 25 Live Entertainment, Concerts, Festivals TRAVIS DAIGLE IRELAND The next generation of “guitar heroes Take yourself to another time and place Local Download in the making” has arrived. Meet Travis and drink in the history of the enchant- by Andy Harrington Daigle who has recently recorded an EP 33 ing Emerald Isle. You haven’t been to Local Music Scene with the help of rock legends David Pas- Ireland until you’ve experienced all the torius and Kenny “Rhino” Earl. They are drunk, the loud, and the wild there is to In The Spotlight featured on our cover this month. offer. John Leach was among them. 35 by Matt Bretz Page 13 Page 17 Flori-duh! TITUSVILLE MARDI GRAS ANDY STANFIELD 36 by Charles Knight Historic downtown Titusville will trans- We first met Andy in 2012 when he ap- form into a New Orleans style French peared with his band Pipes of Pan during The Dope Doctor Quarter during the Titusville Mardi Gras the Original Music Series. -
Kraut Creek Ramblers
Appalachian State University’s Office of Arts and Cultural Programs presents 2019-2020 Season K-12 Performing Arts Series October 23, 2019 Kraut Creek Ramblers School Bus As an integral part of the Performing Arts Series, APPlause! matinées offer a variety of performances at venues across the Appalachian State University campus that feature university-based artists as well as local, regional and world-renowned professional artists. These affordable performances offer access to a wide variety of art disciplines for K-12 students. The series also offers the opportunity for students from the Reich College of Education to view a field trip in action without having to leave campus. Among the 2019-2020 series performers, you will find those who will also be featured in the Performing Arts Series along with professional artists chosen specifically for our student audience as well as performances by campus groups. Before the performance... Familiarize your students with what it means to be a great audience member by introducing these theatre etiquette basics: • Arrive early enough to find your seats and settle in before the show begins (20- 30 minutes). • Remember to turn your electronic devices OFF so they do not disturb the performers or other audience members. • Remember to sit appropriately and to stay quiet so that the audience members around you can enjoy the show too. PLEASE NOTE: *THIS EVENT IS SCHEDULED TO LAST APPROX 60 MINUTES. 10:00am – 11:00am • Audience members arriving by car should plan to park in the Rivers Street Parking Deck. There is a small charge for parking. Buses should plan to park along Rivers Street – Please indicate to the Parking and Traffic Officer when you plan to move your bus (i.e. -
An Introduction to Authentic Public Speaking
An Introduction to Authentic Public Speaking www.presencetraining.co.uk Contents Introduction 3 Principle 1 – It’s all about you, but not in the way you think 4 Principle 2 – Don’t try to control your feelings 5 Principle 3 – Make (the right sort of) eye contact 7 Principle 4 – See and be seen 9 Principle 5 – Trust the silence 11 Principle 6 – Don’t forget to breathe 13 Principle 7 – The connection is more important than the content 15 So now what…? 17 Further reading 18 2 Introduction Welcome to this introductory guide to authentic public speaking. What we’re aiming to introduce to you here is a radically different and astonishingly effective way of doing public speaking. One that blew me away and delighted me when I first discovered it. The foundation for this approach is an understanding that relationship is at the heart of what it means to be human, and that if we get the relationships right everything else follows. And that public speaking is no exception. So, this is public speaking viewed as an act of relating to others – something we do with others - not to others. From this point of view public speaking is a co-created act. We create an event of public speaking with our audience. Yes, we have different roles – the speaker and the audience, yet we are both listening to each other and both responding. What we’ve tried to do in this guide is to encapsulate most of the main principles that we cover in the first 2 days of our Foundation training. -
Christy Moore and the Irish Protest Ballad
“Ordinary Man”: Christy Moore and the Irish Protest Ballad MIKE INGHAM Introduction: Contextualizing the Modern Ballad In his critical study, The Long Revolution, Raymond Williams identified three definitions of culture, namely idealist, documentary, and social. He conceives of them as integrated strands of a holistic, organic cultural process pertaining to the “common associative life”1 of which creative artworks are an inalienable part. His renowned “structure of feeling” concept is closely related to this theoretical paradigm. The ballad tradition of popular and protest song in many ethnic cultural traditions exemplifies the core of Williams’s argument: it synthesizes the ideal aesthetic of the traditional folk song form as cultural production, the documentary element of the people, places, and events that the song records and the contextual resonances of the ballad’s source and target cultures. Likewise, the persistence and durability of the form over many centuries have ensured its survival as a rich source for ethnographic studies and an index of prevailing socio-political conditions and concerns. As twentieth-century commentators on the Anglophone ballad form, such as A. L. Lloyd, have observed, there is an evident distinction between the older ballad tradition, tending toward a more impersonal and distanced voice and perspective, and the more personal style of ballad composed after the anthropological research of ethnomusicologists such as Cecil Sharp, Alan Lomax, and others during the first half of the twentieth century. The former derives from a continuous lineage of predominantly anonymous or unattributed folk material that can be said to reside in the public domain, and largely resists recuperation or commodification by the music industry. -
All Around the World the Global Opportunity for British Music
1 all around around the world all ALL British Music for Global Opportunity The AROUND THE WORLD CONTENTS Foreword by Geoff Taylor 4 Future Trade Agreements: What the British Music Industry Needs The global opportunity for British music 6 Tariffs and Free Movement of Services and Goods 32 Ease of Movement for Musicians and Crews 33 Protection of Intellectual Property 34 How the BPI Supports Exports Enforcement of Copyright Infringement 34 Why Copyright Matters 35 Music Export Growth Scheme 12 BPI Trade Missions 17 British Music Exports: A Worldwide Summary The global music landscape Europe 40 British Music & Global Growth 20 North America 46 Increasing Global Competition 22 Asia 48 British Music Exports 23 South/Central America 52 Record Companies Fuel this Global Success 24 Australasia 54 The Story of Breaking an Artist Globally 28 the future outlook for british music 56 4 5 all around around the world all around the world all The Global Opportunity for British Music for Global Opportunity The BRITISH MUSIC IS GLOBAL, British Music for Global Opportunity The AND SO IS ITS FUTURE FOREWORD BY GEOFF TAYLOR From the British ‘invasion’ of the US in the Sixties to the The global strength of North American music is more recent phenomenal international success of Adele, enhanced by its large population size. With younger Lewis Capaldi and Ed Sheeran, the UK has an almost music fans using streaming platforms as their unrivalled heritage in producing truly global recording THE GLOBAL TOP-SELLING ARTIST principal means of music discovery, the importance stars. We are the world’s leading exporter of music after of algorithmically-programmed playlists on streaming the US – and one of the few net exporters of music in ALBUM HAS COME FROM A BRITISH platforms is growing. -
Dònal Lunny & Andy Irvine
Dònal Lunny & Andy Irvine Remember Planxty Contact scène Naïade Productions www.naiadeproductions.com 1 [email protected] / +33 (0)2 99 85 44 04 / +33 (0)6 23 11 39 11 Biographie Icônes de la musique irlandaise des années 70, Dònal Lunny et Andy Irvine proposent un hommage au groupe Planxty, véritable référence de la musique folk irlandaise connue du grand public. Producteurs, managers, leaders de groupes d’anthologie de la musique irlandaise comme Sweeney’s Men , Planxty, The Bothy Band, Mozaik, LAPD et récemment Usher’s Island, Dònal Lunny et Andy Irvine ont développé à travers les années un style musical unique qui a rendue populaire la musique irlandaise traditionnelle. Andy Irvine est un musicien traditionnel irlandais chanteur et multi-instrumentiste (mandoline, bouzouki, mandole, harmonica et vielle à roue). Il est également l’un des fondateurs de Planxty. Après un voyage dans les Balkans, dans les années 70 il assemble différentes influences musicales qui auront un impact majeur sur la musique irlandaise contemporaine. Dònal Lunny est un musicien traditionnel irlandais, guitariste, bouzoukiste et joueur de bodhrán. Depuis plus de quarante ans, il est à l’avant-garde de la renaissance de la musique traditionnelle irlandaise. Depuis les années 80, il diversifie sa palette d’instruments en apprenant le clavier, la mandoline et devient producteur de musique, l’amenant à travailler avec entre autres Paul Brady, Rod Stewart, Indigo Girls, Sinéad O’Connor, Clannad et Baaba Maal. Contact scène Naïade Productions www.naiadeproductions.com [email protected] / +33 (0)2 99 85 44 04 / +33 (0)6 23 11 39 11 2 Line Up Andy Irvine : voix, mandoline, harmonica Dònal Lunny : voix, bouzouki, bodhran Paddy Glackin : fiddle Discographie Andy Irvine - 70th Birthday Planxty - A retrospective Concert at Vicar St. -
Durham E-Theses
Durham E-Theses English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene ROBINSON, ALICE,MERIEL How to cite: ROBINSON, ALICE,MERIEL (2021) English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13924/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 English Folk under the Red Flag: The Impact of Alan Bush’s ‘Workers’ Music’ on 20 th Century Britain’s Left-Wing Music Scene Alice Robinson Abstract Workers’ music: songs to fight injustice, inequality and establish the rights of the working classes. This was a new, radical genre of music which communist composer, Alan Bush, envisioned in 1930s Britain.