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Reference Manual
Reference Manual RRA008 | v.1.0 Contents Welcome to the Traveler Series 2 Download & Installation 3 Instrument 4 Phrases & FX 9 TACT 11 FX Rack 15 List of Articulations 16 Credits 17 License Agreement 18 1 | Page WELCOME TO THE TRAVELER SERIES Welcome to the Traveler Series, a collection of boutique sample libraries featuring traditional world instruments faithfully recorded on location from destinations around the globe. Traveler Series libraries focus on delivering a genuine purity that can only be captured where the instrument and musical style originated, preserving its true character and history. We seek out a region’s most skilled and renowned performers; amazing folks with stories and bloodlines who live and breathe traditional provincial music. We leave with an education and appreciation for their culture and the role these beautiful instruments serve (as well as a tale or two of our own). We hope our Traveler Series adds an authentic native spirit to your music. Bluegrass fiddling is a distinctive American style characterized by bold, bluesy improvisation, off-beat "chopping", and sophisticated use of double stops and old-time bowing patterns. Notes are often slid into, a technique seldom used in Celtic styles. Bluegrass fiddlers tend to ignore the rules that violinists follow: they hold the fiddle the “wrong” way and often don't use the chin & shoulder rests. We journeyed right to the heart of the Bluegrass State for our Bluegrass Fiddle – Clay City, Kentucky – to the private studio of one of the most renowned names in Bluegrass music, Rickey Wasson. Rickey hooked us up with a true Bluegrass fiddle legend, multi-instrumentalist Ronnie Stewart. -
Ctba Newsletter 1412
Central IBMA Member Vol. 36 No. 12 Texas Bluegrass December 1, 2014 CTBA Year-end Wrap-up by Stacy Holt, President Now that 2014 is winding down, I thought I would take this time to look back at our CTBA year in review. I am proud of our accomplishments and what our CTBA board and members did this year. First, we found a new home for the CTBA Sunday jam at Hill’s Cafe. What I hear from most folks is that it has been a great success. Lots of jamming space available and great drinks and food available have made for a good time. Hill’s has definitely made us feel at home and has done an excellent job with the two other events we held there this year. Our Willa Beach-Porter Scholarships were given to three very deserving kids. Brothers Ethan and John-Samuel May attended Camp Bluegrass as a part of their scholarships. Ryan Chatterjee was our other recipient. He attended Gerald Jones’ Acoustic Music Camp in Arlington. I have met these young men and their families and can safely say, this is by far the best way our membership dol- lars are spent. To see fine young people continue the love and spreading of bluegrass music brings a great joy. CTBA was at the forefront of the Llano Blue Bell Bluegrass Festival with great thanks to our own webmaster, Jeff White. Jeff was once again in charge of booking acts for the festival and chose a fantastic line-up from CTBA bands. I strongly encourage you to attend next year’s event. -
Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
Tunesmith Night February 11 Old
Volume 13, Issue 1 A quarterly newsletter published by the Wallowa Valley Music Alliance Winter 2017 Upcoming Music Events (More details inside...) Old-Time Community Dance January 21 Join us for the Old-Time Community Dance on Saturday, Friday, Jan 20, 5:30-7:30pm January 21, 7:00 to 9:00 PM at the Hurricane Creek Grange Jezebel’s Mother Hall. Dance squares, circles, reels, contras, waltzes, polkas with Silver Lake Bistro a caller and live string band. Beginners welcome, all dances will be taught, and no partner or special clothing required. Saturday, Jan 21, 7PM Admission $5/person, children under 12 FREE. Old-Time Community Dance Hurricane Creek Grange For more info or to volunteer at our monthly dances please call Laura Skovlin, 541-398-0800. Dances are generally be held every 3rd Saturday of the month, September through April, Tuesday, Jan 31, 7pm Joseph Jammers location varies. Watch for posters and Facebook notices. Stockman’s Lounge Tunesmith Night February 11 Saturday, Feb 4, 6pm Our monthly songwriter showcase continues Winter Blues Party w/Darrell Brann & Friends its tenth season on Saturday, February 11 Lostine Tavern with Elwood, Gregory Rawlins and Travis Ward. Join us every second Saturday for Saturday, Feb 11, 7PM Tunesmith Night at Stockman’s Lounge Tunesmith Night: Elwood, (formerly Lear’s) at 111 W. Main in Enterprise. Gregory Rawlins, Travis What is it that moves your soul? For Elwood, it has always been Ward the ever awe-inspiring serenity and sheer power of Mother Stockman’s Lounge Nature and you can feel it in his music. -
The Place of Music, Race and Gender in Producing Appalachian Space
University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Words You Should Know How to Spell by Jane Mallison.Pdf
WO defammasiont priveledgei Spell it rigHt—everY tiMe! arrouse hexagonnalOver saicred r 12,000 Ceilling. Beleive. Scissers. Do you have trouble of the most DS HOW DS HOW spelling everyday words? Is your spell check on overdrive? MiSo S Well, this easy-to-use dictionary is just what you need! acheevei trajectarypelled machinry Organized with speed and convenience in mind, it gives WordS! you instant access to the correct spellings of more than 12,500 words. YOUextrac t grimey readallyi Also provided are quick tips and memory tricks, such as: SHOUlD KNOW • Help yourself get the spelling of their right by thinking of the phrase “their heirlooms.” • Most words ending in a “seed” sound are spelled “-cede” or “-ceed,” but one word ends in “-sede.” You could say the rule for spelling this word supersedes the other rules. Words t No matter what you’re working on, you can be confident You Should Know that your good writing won’t be marred by bad spelling. O S Words You Should Know How to Spell takes away the guesswork and helps you make a good impression! PELL hoW to spell David Hatcher, MA has taught communication skills for three universities and more than twenty government and private-industry clients. He has An A to Z Guide to Perfect SPellinG written and cowritten several books on writing, vocabulary, proofreading, editing, and related subjects. He lives in Winston-Salem, NC. Jane Mallison, MA teaches at Trinity School in New York City. The author bou tique swaveu g narl fabulus or coauthor of several books, she worked for many years with the writing section of the SAT test and continues to work with the AP English examination. -
05. BMI Fellowship Notice
ISSN 2053-8804 Woody Guthrie Annual, 3 (2017): BMI-Woody Guthrie Fellowship Twelfth Annual BMI-Woody Guthrie Fellowship Winners Announced ! ! On August 8, 2017 the BMI Foundation announced the winners of the twelfth annual BMI-Woody Guthrie Fellowship. The following notice is !reproduced courtesy of the BMI Foundation: ! BMI Foundation President Deirdre Chadwick, Woody Guthrie Center Executive Director Deana McCloud, and Woody Guthrie Foundation President Nora Guthrie have announced Jamie Fenton and Matthew Sutton as the winners of the twelfth annual Woody Guthrie Fellowship, a research program for scholars pursuing topics or themes related to the life and legacy of American folk music progenitor Woody Guthrie. The BMI Foundation, in cooperation with the Woody Guthrie Center, annually awards up to $5,000 for scholarly research at the extensive Woody Guthrie Archives, a paper-based research repository located in Tulsa, Oklahoma. Since 2005, the program has funded a variety of extensive research projects culminating in books, essays, lectures, curricula, public performances, artwork, and other classroom !materials that illustrate Guthrie’s lasting cultural impact. ! !2017 Woody Guthrie Award Recipients Jamie Fenton is an MPhil student at Jesus College, University of Cambridge, where he also completed his undergraduate degree in English. Jamie writes on poetics, and his MPhil dissertation is an exploration of how different types of mobility influenced and can be used to comprehend Woody Guthrie’s use of form. His fellowship underwrites a recent trip to the Woody Guthrie Archives to consult Guthrie’s unrecorded Talking Blues lyrics, a form of particular interest. Jamie also writes his own music, and was recently in the USA with an educational tour of Shakespeare’s As You Like It, for which he composed !the score. -
Jim Shumate and the Development of Bluegrass Fiddling
JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2018 Center for Appalachian Studies JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER May 2018 APPROVED BY: Sandra L. Ballard Chairperson, Thesis Committee Gary R. Boye Member, Thesis Committee David H. Wood Member, Thesis Committee William R. Schumann Director, Center for Appalachian Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Natalya Weinstein Miller 2018 All Rights Reserved Abstract JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING Natalya Weinstein Miller, B.A., University of Massachusetts M.A., Appalachian State University Chairperson: Sandra L. Ballard Born and raised on Chestnut Mountain in Wilkes County, North Carolina, James “Jim” Shumate (1921-2013) was a pioneering bluegrass fiddler. His position at the inception of bluegrass places him as a significant yet understudied musician. Shumate was a stylistic co-creator of bluegrass fiddling, synthesizing a variety of existing styles into the developing genre during his time performing with some of the top names in bluegrass in the 1940s, including Bill Monroe in 1945 and Lester Flatt & Earl Scruggs in 1948. While the "big bang" of bluegrass is considered to be in 1946, many elements of the bluegrass fiddle style were present in Bill Monroe's Blue Grass Boys prior to 1945. Jim Shumate’s innovative playing demonstrated characteristics of this emerging style, such as sliding double-stops (fingering notes on two strings at once) and syncopated, bluesy runs. -
Geographic Implications of the Fiddling Tradition in Oklahoma
GEOGRAPHIC IMPLICATIONS OF THE FIDDLING TRADITION IN OKLAHOMA By JAMES HUBERT RENNER 1/ Bachelor of Science University of Oregon Eugene, Oregon 1974 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE May, 1979 ~ /979 7( '-/14q QQp. 2_ c ~W51vfA~ fo+~-- ~)', 0 UNIVERSITY (' LIBRARY GEOGRAPHIC IMPLICATIONS OF THE FIDDLING TRADITION IN OKLAHOMA Thesis Approved: 1,029474- ii PREFACE This thesis is a combination of two longstanding in terests--geography and fiddling. The background and origin of this unique study was fostered by Dr. Everett Smith, my undergraduate advisor at the University of Oregon, who first encouraged me to pursue a course of study which would com bine the two. Following my graduation of Oregon, I journeyed to Penn State University to attend the first meeting of the emergent Society for a North American Cultural Survey (SNAGS) and to meet Dr. George Carney, who had pioneered geographic re search in traditional American music. I later joined the graduate program at Oklahoma State University to work under Carney. While conducting my graduate studies, I received a Youthgrant from the National Endowment for_ the Humanities to establish an Archive of Oklahoma Fiddlers. This project was begun in the summer of 1976 and completed in the fall of 1977. During this same period of time, I was chosen to serve as "Resident Folk Artist" for the Oklahoma Arts and Humanities Council. Both of these experiences provided in valuable experience and information concerning music and culture in Oklahoma which became the foundation of this re search. -
CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries. -
American Folk Music and the Radical Left Sarah C
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2015 If I Had a Hammer: American Folk Music and the Radical Left Sarah C. Kerley East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Cultural History Commons, Social History Commons, and the United States History Commons Recommended Citation Kerley, Sarah C., "If I Had a Hammer: American Folk Music and the Radical Left" (2015). Electronic Theses and Dissertations. Paper 2614. https://dc.etsu.edu/etd/2614 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. If I Had a Hammer: American Folk Music and the Radical Left —————————————— A thesis presented to the faculty of the Department of History East Tennessee State University in partial fulfillment of the requirements for the degree Masters of Arts in History —————————————— by Sarah Caitlin Kerley December 2015 —————————————— Dr. Elwood Watson, Chair Dr. Daryl A. Carter Dr. Dinah Mayo-Bobee Keywords: Folk Music, Communism, Radical Left ABSTRACT If I Had a Hammer: American Folk Music and the Radical Left by Sarah Caitlin Kerley Folk music is one of the most popular forms of music today; artists such as Mumford and Sons and the Carolina Chocolate Drops are giving new life to an age-old music.