Benjamin, His Harp & Some Friends
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Download the Programme for the Xvith International Congress of Celtic Studies
Logo a chynllun y clawr Cynlluniwyd logo’r XVIeg Gyngres gan Tom Pollock, ac mae’n seiliedig ar Frigwrn Capel Garmon (tua 50CC-OC50) a ddarganfuwyd ym 1852 ger fferm Carreg Goedog, Capel Garmon, ger Llanrwst, Conwy. Ceir rhagor o wybodaeth ar wefan Sain Ffagan Amgueddfa Werin Cymru: https://amgueddfa.cymru/oes_haearn_athrawon/gwrthrychau/brigwrn_capel_garmon/?_ga=2.228244894.201309 1070.1562827471-35887991.1562827471 Cynlluniwyd y clawr gan Meilyr Lynch ar sail delweddau o Lawysgrif Bangor 1 (Archifau a Chasgliadau Arbennig Prifysgol Bangor) a luniwyd yn y cyfnod 1425−75. Mae’r testun yn nelwedd y clawr blaen yn cynnwys rhan agoriadol Pwyll y Pader o Ddull Hu Sant, cyfieithiad Cymraeg o De Quinque Septenis seu Septenariis Opusculum, gan Hu Sant (Hugo o St. Victor). Rhan o ramadeg barddol a geir ar y clawr ôl. Logo and cover design The XVIth Congress logo was designed by Tom Pollock and is based on the Capel Garmon Firedog (c. 50BC-AD50) which was discovered in 1852 near Carreg Goedog farm, Capel Garmon, near Llanrwst, Conwy. Further information will be found on the St Fagans National Museum of History wesite: https://museum.wales/iron_age_teachers/artefacts/capel_garmon_firedog/?_ga=2.228244894.2013091070.156282 7471-35887991.1562827471 The cover design, by Meilyr Lynch, is based on images from Bangor 1 Manuscript (Bangor University Archives and Special Collections) which was copied 1425−75. The text on the front cover is the opening part of Pwyll y Pader o Ddull Hu Sant, a Welsh translation of De Quinque Septenis seu Septenariis Opusculum (Hugo of St. Victor). The back-cover text comes from the Bangor 1 bardic grammar. -
Phonographic Bulletin
iasa International Association of Sound Archives Association Internationale d'Archives Sonores Internation~le Vereinigun~ 'd,er,Schallarchive phonographic bulletin no.29/March 1981 PHONOGRAPHIC BULLETIN Journal of the International Association of Sound Archives IASA Organe de 1 'Association Internationale d'Archives Sonores IASA Zeitschrift der Internationalen Vereinigung der Schallarchive IASA Associate Editors: Ann Briegleb, Ethnomusiocology Archives, UCLA, Los Angeles; Frank J. Gillis, Archives of Traditional Music, Indiana University, B1oomington. Technical Editor: Dr. Dietrich SchUller, Phonograrrunarchiv der Oesterreichischen Akademie der Wissenschaften, Wien. The PHONOGRAPHIC BULLETIN is published three times a year and is sent to all members of IASA. Applications for membership in IASA should be sent to the Secretary (see list of officers be low). The annual dues are at the moment 25.-Deutsche Mark for individual members and 60. Deutsche Mark for institutional members. Back copies of the PHONOGRAPHIC BULLETIN from 1971 are available at 15.-Deutsche Mark for each year's issue, including postage. Subscriptions to the current year's issues of the PHONOGRAPHIC BULLETIN are also available to non-members at a cost of 25.-Deutsche Mark. Le journal de 1 'Association internationale d'archives sonores, le PHONOGRAPHIC BULLETIN, est publie trois fois 1 'an et distribue a tous les membres. Veuillez envoyer vos demandes d'adhesion au \secretaire dont vous trouverez 1 'adresse ci-dessous. Les cotisations annuel1es sont en ce . moment de 25.-Deutsche Mark pour les membres individuels et 60.-Deutsche Mark pour les membres . institutionne1s. Les numeros precedents (a partir de 1971) du PHONOGRAPHIC BULLETIN sont dis ponibles au cout de 15.-Deutsche Mark par annee (frais de port inclus). -
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Heavenly Harp BEST LOVED classical harp music Heavenly Harp Best loved classical harp music 1 Alphonse HASSELMANS (1845–1912) 10 Henriette RENIÉ (1875–1956) La Source, Op. 44 3:55 Danse des Lutins 3:59 Erica Goodman (8.573947) Judy Loman (8.554347) 2 Hugo REINHOLD (1854–1935) 11 Marcel TOURNIER (1879–1951) Impromptu in C sharp minor, Op. 28, No. 3 5:35 Vers la source dans le bois 4:18 Elizabeth Hainen (8.555791) (‘Towards the Fountain in the Wood’) Judy Loman (8.554561) 3 John THOMAS (1826–1913) Dyddiau Mebyd (‘Scenes of Childhood’) – 3:05 12 Gabriel FAURÉ (1845–1924) II. Toriad y Dydd (‘The Dawn of Day’) Une chatelaine en sa tour, Op. 110 4:41 Lipman Harp Duo (8.570372) Judy Loman (8.554561) 4 Gaetano DONIZETTI (1797–1848) 13 Elias PARISH ALVARS (1808–1849) Lucia di Lammermoor, Act 1 Scene 2 4:25 Serenade, Op. 83 – Serenade 7:13 (arr. A.H. Zabel) Elizabeth Hainen (8.555791) Elizabeth Hainen (8.555791) 14 Gabriel PIERNÉ (1863–1937) 5 Marcel GRANDJANY (1891–1975) Impromptu-caprice, Op. 9 5:51 Fantasy on a Theme of Haydn, Op. 31 7:54 Ellen Bødtker (8.555328) Judy Loman (8.554561) 15 Nino ROTA (1911–1979) 6 Manuel de FALLA (1876–1946) Toccata 2:33 La vida breve, Act II – 4:11 Elisa Netzer (8.573835) Danse espagnole No. 1 (ver. For 2 guitars) Judy Loman (8.554561) 16 John PARRY (1710–1782) Sonata No. 2 – Siciliana 2:06 7 Sophia DUSSEK (1775–1847) Judy Loman (8.554347) Sonata – Allegro 2:39 Judy Loman (8.554347) 17 Carl Philipp Emanuel BACH (1714–1788) 12 Variations on La folia d’Espagne, 9:13 8 Louis SPOHR (1784–1859) Wq. -
The Folk Harp Journal Index of Issue Content March 1986 - Winter 1998
The Folk Harp Journal Index of Issue Content March 1986 - Winter 1998 Author or Year Issue Type Composer/Arranger Title Subtitle Misc 1998 Winter Cover Illustration Make a Joyful Noise 1998 Winter Column Sylvia Fellows Welcome Page 1998 Winter Column Nadine Bunn From the Editor 1998 Winter Column Laurie Rasmussen Chapter Roundup 1998 Winter Column Mitch Landy New Music in Print Harper Tasche; William Mahan 1998 Winter Column Dinah LeHoven Ringing Strings 1998 Winter Column Alys Howe Harpsounds CD Review Verlene Schermer; Lori Pappajohn; Harpers Hall & Culinary Society; Chrys King; John Doan; David Helfand 1998 Winter Article Patty Anne McAdams Second annual retreat for Bay Area folk harpers 1998 Winter Article Charles Tanner A Cool Harp! 1998 Winter Article Fifth Gulf Coast Celtic harp 1998 Winter Article Ann Heymann Trimming the Tune 1998 Winter Article James Kurtz Electronic Effects 1998 Winter Column Nadine Bunn Classifieds 1998 Winter Music Traditional/Sylvia Fellows Three Kings 1998 Winter Music Sharon Thormahlen Where River Turns to sky 1998 Winter Music Reba Lunsford Tootie's Jig 1998 Winter Music Traditional/M. Schroyer The Friendly Beats 12th Century English 1998 Winter Music Joyce Rice By Yon Yangtze 1998 Winter Music Traditional/Serena He is Born Underwood 1998 Winter Music William Mahan Adios 1998 Winter Music Traditional/Ann Heymann MacDonald's March Irish 1998 Fall Cover Photo New Zealand's Harp and Guitar Ensemble 1998 Winter Column Sylvia Fellows Welcome Page 1998 Fall Column Nadine Bunn From the Editor 1998 Fall Column -
Building New Business Strategies for the Music Industry in Wales
Knowledge Exploitation Capacity Development Academic Expertise for Business Building New Business Strategies for the Music Industry in Wales Final report School of Music BANGOR UNIVERSITY This study is funded by an Academia for Business (A4B) grant, which is managed by the Welsh Assembly Government’s Department for Economy and Transport, and is financed by the Welsh Assembly Government and the European Union. 1 Table of Contents Executive Summary.......................................................................................................5 The following conclusions are drawn from this study......................................................5 The following recommendations are made in this study ................................................6 Preface ..............................................................................................................................8 Introduction ....................................................................................................................9 Part 1: Background and Context: The Infrastructure of the WelshLanguage Popular Music Industry from 1965–c.2000......................................................... 12 1.1 Overview...................................................................................................................................... 12 1.2 Record companies and sales .............................................................................................. 13 1.3 TV, radio and Welshlanguage music journalism .................................................... -
Harp Start Book 1 Handbook and Guide
Harp Start Book 1 Handbook and Guide 1 2 Harp Start Book 1 - Guidebook Introduction Welcome to the Handbook and Guide to Harp Start Book 1. This material is provided as extra information that you might have missed at your lesson, or you want to read in advance of learning the pieces in Harp Start. There are little versions of each page for reference, though if you have an earlier edition of Harp Start Book 1, you may detect some small differences as I continually try to improve the book. There are 3 appendices at the back: Appendix 1 is “How to Read Music Notation”, which may be profitably consulted by those with no musical literacy background. It is a harp-centered approach to the subject, and though it scratches the surface, it should get you through the beginning stages. Appendix 2 is “Sharps, Flats and Levers”. Appendix 3 is “Using the Harp Start Bonus Tuning Reference Chart” which will help you tune your harp and organize your levers. Some people use this book with a teaher, and others without. The italic notes are info for teachers with more detail about how I use the pages, but will be good advice for everyone. I use harp jewels in my teaching. They are little stick-on plastic jewels, sometimes known as diamonds ⋄ . I use them mostly just above the knuckle to be a tactile and very sparkly landing pad for the tip of the thumb. (I don’t wrap the thumb around the finger, but relax onto the pointy pillow on the side of, just above, the knuckle. -
<I>Cerdd Dant</I>
STUDIA CELTICA, XXXV (2001), 325–340 Issues in Dating the Repertory of Cerdd Dant SALLY HARPER University of Wales, Bangor Secular music in late medieval Wales largely falls under the umbrella term of cerdd dant, literally ‘the art of the string’, which implies performance on harp or crwth.1 Because such music was largely reliant on improvisation, there are few written sources, and the nature and extent of the repertory therefore remain somewhat elusive.2 This essay offers a preliminary survey of issues relating to the dating of cerdd dant, exploring the periods of formulation, decline and proliferation. Given their implied etymological association, one might expect cerdd dant and cerdd dafod, its poetic sister art, to share broadly similar chronological parameters, with the set forms of string music blossoming concurrently with the strict-metre cywydd from the early fourteenth century until the mid 1520s, when it is generally agreed that the great era of cerdd dafod had drawn to a close.3 But this can by no means be proved. The ear- liest extant document associated with cerdd dant is a scarcely legible page of twenty-two titles in NLW MS Peniarth 55, copied around 1496.4 Copies of more substantial docu- ments dealing with theoretical aspects of the art – some of which imply that cerdd dant was conceived as early as 1100 – date only from after 1550, and even then the evidence is partial and often confused.5 There are no musical sources to match the comprehen- 1 This piece would not have been possible without 4 NLW MS Peniarth 55, p. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
General Rules of the Eisteddfod
Rhestr Testunau – English Version GENERAL RULES OF THE EISTEDDFOD Please note the Rules stated below are relevant to every Eisteddfod – Local, Regional and National. 1. Language policy The Eisteddfod aims to promote Welsh culture and to protect the Welsh Language. Welsh is the language of the Eisteddfod. All creative works and competitions must be in Welsh except where noted otherwise for a particular competition. i) Where there is no call for knowledge of the Welsh language the competitions are open to any member of the Urdd born in Wales, or any person who has a parent born in Wales, or any person living in Wales immediately before the festival or any person who can speak or write in Welsh. Words used in any work must be in Welsh. ii) Recitation / Action Song / Dramatic Presentation / Theatre An exception may be made to use another language when there is a need to put part of the work into context. However, over - use of another language will not be permitted. iii) Disco/Hip Hop/Street Dancing / Creative Dancing It is permitted to use any instrumental music or music with Welsh language vocals only. 2. Only fully enrolled members of Urdd Gobaith Cymru may compete in Local, County/Regional and National Eisteddfodau. No one shall be considered a full member unless the membership fee has been paid and a Membership Card and number have been received for the year 2017/18. Membership must be registered in good time. Registration to compete can not be accepted without a membership number. It is possible to enrol through the website urdd.cymru/aelodaeth. -
Tuning Supplement
TUNING SUPPLEMENT PETER GREENHILL 2017 This supplement is prompted by some major developments in the understanding of cerdd dant composition that have occurred in the years since my ‘Tuning’ dissertation was written.1 That dissertation drew confident conclusions as to the identity of the nominal pitches the harp was tuned to in order to perform the pieces intablated in the Robert ap Huw manuscript. Numerous strong arguments were presented against the hypothesis that the diagrams on pp. 108-9 of the manuscript are scordatura tunings2 and the viability was demonstrated of each of the tablature letters referring to its literal written nominal pitch – i.e. all natural notes apart from B-flat – rather than to an unwritten and unidentified substitute nominal pitch.3 Subsequently, the cerdd dant scholar Paul Whittaker has taken care to guide the reader through illustrations of exactly how my tuning interpretation makes artistic and historical sense of the harmony and the melodic phrasing, using the clymau cytgerdd, Caniad Cadwgan and Caniad Cynwrig Bencerdd as examples, on pages 11-16 of his deeply-probing article: ‘Harmonic Forms in the Robert ap Huw Manuscript’,4 and Paul Dooley and I have aired my translations of the manuscript, in illustration of the melodic and harmonic comprehensibility of the nominal pitch solution when set into the historical context 1 Peter Greenhill, ‘The Robert ap Huw Manuscript: an exploration of its possible solutions’, 3: ‘Tuning’ (2000), CAWMS dissertation, Bangor University, <http://www.cl.cam.ac.uk/~rja14/musicfiles/manuscripts/aphuw/aphuw-t.pdf>. 2 ibid., pp. 33-52. 3 ibid., pp. -
Albert Schulz As a Cultural Mediator Between the Literary Fields of Nineteenth Century Wales and Germany
Bangor University DOCTOR OF PHILOSOPHY King Arthur and the privy councillor : Albert Schulz as a cultural mediator between the literary fields of nineteenth century Wales and Germany Gruber, Edith Award date: 2014 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 King Arthur and the Privy Councillor: Albert Schulz as a Cultural Mediator Between the Literary Fields of Nineteenth Century Wales and Germany Edith Gruber Bangor University Doctor of Philosophy (PhD) King Arthur and the Privy Councillor: Albert Schulz as a Cultural Mediator Between the Literary Fields of Nineteenth Century Wales and Germany Edith Gruber Abstract This thesis presents Albert Schulz, a lawyer and autodidact scholar, who won the first prize at the 1840 Abergavenny Eisteddfod with his Essay on the Influence of Welsh Traditions on the Literature of France, Germany, and Scandinavia. -
Volume 38; Number 7
Volume 38; Number 10 June / Mehefin 2004. Dewi Sant Welsh United Church 33 Melrose Avenue, Toronto, Ontario. M5M 1Y6 Phone 416-485-7583 Fax 416-485-2978 Web www.dewisant.com Email [email protected] Minister's Message - Neges y Gweinidog MAY, 2004 Someone asked me the other day what it feels like to come back to minister in a congregation ten years after I had been there before. I can only answer that it feels good. Of course, there is sadness at the faces which are missing, and there are regrets that we are all a little less youthful than we were ten years ago. But there is joy in renewing relationships with people I think of as friends, as well as meeting and getting to know new people. And there is joy in sensing the renewed enthusiasm and hope in the congregation. My time with you as minister will be short. I’m a caretaker, trying to help you keep things going until Deian Evans arrives in September. But even that short period of time will be important, and I want to be as useful to you as I can. Please do not hesitate to give me a shout if there is any way in which you think I might be helpful to you personally or to the congregation. We have had a wonderful boost under the ministry of “Lord” Roberts. He has helped us to begin the process of change which is necessary for every church these days. Let’s not lose the impetus of what he has done for us.