Spring 2018 Newsletter
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View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Imagining Scotland in Music: Place, Audience, and Attraction Paul F. Moulton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC IMAGINING SCOTLAND IN MUSIC: PLACE, AUDIENCE, AND ATTRACTION By Paul F. Moulton A Dissertation submitted to the College of Music in partial fulfillment of the requirements of the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Paul F. Moulton defended on 15 September, 2008. _____________________________ Douglass Seaton Professor Directing Dissertation _____________________________ Eric C. Walker Outside Committee Member _____________________________ Denise Von Glahn Committee Member _____________________________ Michael B. Bakan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Alison iii ACKNOWLEDGMENTS In working on this project I have greatly benefitted from the valuable criticisms, suggestions, and encouragement of my dissertation committee. Douglass Seaton has served as an amazing advisor, spending many hours thoroughly reading and editing in a way that has shown his genuine desire to improve my skills as a scholar and to improve the final document. Denise Von Glahn, Michael Bakan, and Eric Walker have also asked pointed questions and made comments that have helped shape my thoughts and writing. Less visible in this document has been the constant support of my wife Alison. She has patiently supported me in my work that has taken us across the country. She has also been my best motivator, encouraging me to finish this work in a timely manner, and has been my devoted editor, whose sound judgement I have come to rely on. -
Traditional Fiddle Music of the Scottish Borders
CD Included Traditional Fiddle Music of the Scottish Borders from the playing of Tom Hughes of Jedburgh Sixty tunes from Tom’s repertoire inherited from a rich, regional family tradition fully transcribed with an analysis of Tom’s old traditional style. by Peter Shepheard Traditional Fiddle Music of the Scottish Borders from the playing of Tom Hughes of Jedburgh A Player’s Guide to Regional Style Bowing Techniques Repertoire and Dances Music transcribed from sound and video recordings of Tom Hughes and other Border musicians by Peter Shepheard scotlandsmusic 13 Upper Breakish Isle of Skye IV42 8PY . 13 Breacais Ard An t-Eilean Sgitheanach Alba UK Taigh na Teud www.scotlandsmusic.com • Springthyme Music www.springthyme.co.uk [email protected] www.scotlandsmusic.com Taigh na Teud / Scotland’s Music & Springthyme Music ISBN 978-1-906804-80-0 Library Edition (Perfect Bound) ISBN 978-1-906804-78-7 Performer’s Edition (Spiral Bound) ISBN 978-1-906804-79-4 eBook (Download) First published © 2015 Taigh na Teud Music Publishers 13 Upper Breakish, Isle of Skye IV42 8PY www.scotlandsmusic.com [email protected] Springthyme Records/ Springthyme Music Balmalcolm House, Balmalcolm, Cupar, Fife KY15 7TJ www.springthyme.co.uk The rights of the author have been asserted Copyright © 2015 Peter Shepheard Parts of this work have been previously published by Springthyme Records/ Springthyme Music © 1981 A catalogue record of this book is available from the British Library. The writer and publisher acknowledge support from the National Lottery through Creative Scotland towards the writing and publication of this title. All Rights Reserved. -
Join Us Aboard the Lady of Avenel for Sessions and Sail 2020 – Argyll
Join us aboard the Lady of Avenel for Sessions and Sail 2020 – Argyll This two-masted, Brigantine-rigged tall ship will be your home for the week as we step aboard in Oban and sail the waters south of Mull and the coast of Argyll and the islands. The ship will be your base for a voyage of exploration and music with sessions, workshops, sailing and more. See the spectacular Paps of Jura from the sea, feel the tide course through the Sound of Islay, visit Colonsay, Gigha and more. You will learn tunes from the rich local tradition under the guidance of some of Scotland’s best musicians in the bright saloon aboard Lady of Avenel; later, we will walk ashore to a local pub or village hall to play sessions with local musicians and meet the communities. Throughout the trip we will enjoy locally sourced food, beautifully prepared by our on-board chef. Some of our likely destinations are outlined overleaf. We look forward to having you join us! 1 Sessions and Sail - Nisbet Marine Services Ltd, Lingarth, Cullivoe, Yell, Shetland ZE2 9DD Tel: +44 (0)7775761149 Email: [email protected] Web: www.sessionsandsail.com If you are a keen musician playing at any level - whether beginner, intermediate or expert - with an interest in the traditional and folk music of Scotland, this trip is for you. No sailing experience is necessary, but those keen to participate will be encouraged to join in the sailing of the ship should they wish to, whether steering, helping set and trim the sails, or even climbing the mast for the finest view of all. -
Scottish and Irish Elements of Appalachian Fiddle Music
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.> Date / / - ( /'--/----- --",,-..- Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'- ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---. -
Traditional Music of Scotland
Traditional Music of Scotland A Journey to the Musical World of Today Abstract Immigrants from Scotland have been arriving in the States since the early 1600s, bringing with them various aspects of their culture, including music. As different cultures from around Europe and the world mixed with the settled Scots, the music that they played evolved. For my research project, I will investigate the progression of “traditional” Scottish music in the United States, and how it deviates from the progression of the same style of music in Scotland itself, specifically stylistic changes, notational changes, and changes in popular repertoire. I will focus on the relationship of this progression to the interactions of the two countries throughout history. To conduct my research, I will use non-fiction sources on the history of Scottish music, Scottish culture and music in the United States, and Scottish immigration to and interaction with the United States. Beyond material sources, I will contact my former Scottish fiddle teacher, Elke Baker, who conducts extensive study of ethnomusicology relating to Scottish music. In addition, I will gather audio recordings of both Scots and Americans playing “traditional” Scottish music throughout recent history to compare and contrast according to their dates. My background in Scottish music, as well as in other American traditional music styles, will be an aid as well. I will be able to supplement my research with my own collection of music by close examination. To culminate my project, I plan to compose my own piece of Scottish music that incorporates and illustrates the progression of the music from its first landing to the present. -
LAMENT the Fruits of Diverse Languages and Aesthetic Values, These Traditions Are Rooted in Strikingly Different Landscapes
Traditional Song and Music in Scotland MARGARET BENNETT 77 The traditional songs, poetry, and musiC of Scotland are as easy to recognize as they are difficult to define. Just as purple heather cannot describe the whole country, so with traditional arts: no simple description will fit. M A C C R I M M 0 N ' S LAMENT The fruits of diverse languages and aesthetic values, these traditions are rooted in strikingly different landscapes. Within this small country there are enormous Dh'iadh ceo nan stuc mu contrasts. Culturally as well as geographically, Scotland could be divided aodainn Chuillionn, Is sheinn a' bhean-shith a torman into several (imaginary) areas [see map on page 70], each reflecting a mulaid, distinct spirit of the Scottish people, their songs, poetry, and music. Gorm shuilean ciuin san Along with the Western Isles (the Outer Hebrides), the Highlands Dun a' sileadh Scotland's largest land mass and most sparsely populated area-is On thriall thu uainn 's nach till traditionally home to the Gaels, who make their living from "crofting" thu tuille. (working very small farms), fishing, weaving, whisky distilling, tourism, Cha till, cha till, cha till and, nowadays, computing. uciamar a tha thu'n diugh?" a neighbor MacCriomain, enquires, in Scottish Gaelic, "How are you today?" The songs and music An cogadh no s.ith cha till e have evolved through history, from as early as the first century C.E., when tuille; Scotland and Ireland shared traditions about their heroes. These traditions Le airgiod no ni cha till MacCriomain remember the hero Cu Culainn, whose warriors were trained to fight by Cha till e gu bdth gu La na a formidable woman on the Isle of Skye. -
Melodic Identity and Tune Resemblance Karen E. Mcaulay
1 ABSTRACTS (grouped by session) Session 1: Melodic Identity and Tune Resemblance Karen E. McAulay (Royal Conservatoire of Scotland, Glasgow) ‘All the right notes, but not necessarily in the right order’*: Musical Resemblances over the Border The appealing Northumbrian pipe-tune, “I saw my love come passing by me”, appears in at least three nineteenth century sources, and again in Cock’s Tutor for the Northumbrian Half-Long Bagpipes. The latest two of these are shorter, whilst the first two elaborate the tune with variations. Nonetheless, the resemblances are clear; their kinship is indisputable. However, there are two much earlier appearances of similar tunes in publications north of the border. A century older, each has a different title, and although the shapes of these tunes are undeniably similar, they are certainly neither identical forerunners to one another, nor to “I saw my love”. Indeed, one source was linked in 1925 to a totally different tune. Notwithstanding this earlier identification, I dispute the similarity, and propose that there is some kind of link between “I saw my love” and her earlier Scottish cousins. Whilst the Tune Archive enabled me to trace the iterations of the Border tunes, it failed to flag up these Scottish tunes as potential relatives, partly because their rhythmic notation means the Theme Code index failed to pick up the same strong beats. I propose to demonstrate the methodology I have adopted to attempt to prove my hypothesis. If I’m right, it suggests that before I saw my love come passing by me, she had enjoyed a bit of a shadowy Celtic past. -
Thesis&Preparation&Appr
THESIS&PREPARATION&APPROVAL&FORM& & Title&of&Thesis:& Scottish&Fiddling&in&the&United&States:&Reviving&a&Tradition&and&Maintaining&a&Community& & & I. To&be&completed&by&the&Student:& & I&certify&that&this&document&meets&the&preparation&guidelines&as&presented&in&the& Style&Guide&and&Instructions&for&Preparing&Theses&and&Dissertations.&& & & _________________________________& &_______________& (Signature&of&Student)&& & (Date)& & & II. To&be&completed&by&thesis&advisor:& & I&certify&that&this&document&is&suitable&for&submission.& & & _________________________________&& _______________& (Signature&of&Advisor)&& & (Date)& & III. To&be&completed&by&School&Director:& & I&certify,&to&the&best&of&my&knowledge,&that&the&required&procedures&have&been& followed&and&the&preparation&criteria&have&been&met&for&this&thesis/dissertation.&& & & _________________________________& &_______________& (Signature&of&Director)&& & (Date)& & & xc:&Graduate&Coordinator& SCOTTISH FIDDLING IN THE UNITED STATES: REVIVING A TRADITION AND MAINTAINING A COMMUNITY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Deanna T. Nebel May, 2015 Thesis written by Deanna T. Nebel B.M., Westminster College, 2013 M.A., Kent State University, 2015 Approved by ____________________________________________________ Jennifer Johnstone, Ph.D., Advisor ____________________________________________________ Ralph Lorenz, Ph.D., Acting Director, School of Music ____________________________________________________ -
The Songs of Robert Burns
BIBLIOGRAPHY I. WORKS OF BURNS. [Burns was born January 25, 1759 ; he wrote his first song in the autumn of first 1773 or 1774 ; published the edition of his Works in 1786, and the last in 1794. His connexion with Johnson's Scots Musical Museum began in the spring or summer of 1787, and with Thomson's Scotish Airs in September, 1792, and he continued to contribute to both collections until his death on July 21, 1796. The Bibliography of Burns in the ' Memorial Catalogue of the Bums Exhibition, 1896. Glasgow: Hodge, 1898,' describes 696 editions of the Works of Bums published in the United Kingdom.] Hastie MSS., in the British Museum (No. 22,307), include 162 songs, mostly in the handwriting of Burns, which he contributed to the Scots Musical MtiseufH. Dalhousie MS., in Brechin Castle, consists of Letters to George Thomson, and songs intended for publication in Scotish Airs. Gray's MS. Lists, belonging to George Gray, Esq., of the Coimty Buildings, Glasgow, are a number of detached sheets containing the titles of songs pro- posed for insertion in the second and subsequent volumes of the Scots Musical Museum. The lists are partly in the handwriting of Burns and partly in that of James Johnson. Law's MS. List, lately in the possession of William Law, Littleborough, is a holograph of Burns, entitled ' List of Songs for 3rd Volume of the Scots Musical Mtiseum^ which he sent to Johnson in a letter dated April 24, 1789. This MS., now referred to for the first time, definitely settles the authorship of many songs, some of which in the following pages are printed for the first time as the work of Burns. -
E] Book Contents
The Eskimo Republic For John Powles, former Project Manager of the Centre for Political Song at Glasgow Caledonian University, and for Thurso Berwick. Other books written or co-written by Ewan McVicar include One Singer One Song Cod Liver Oil & The Orange Juice [with Hamish Imlach] Streets Schemes & Stages [with Mary McCabe] Traditional Scottish Songs & Music [with Katherine Campbell] Doh Ray Me When Ah Wis Wee Lang Legged Beasties One Black Isle Night The Eskimo Republic Scots political folk song in action 1951 to 1999 Ewan McVicar Gallus Publishing Linlithgow All rights reserved. The moral right of the author has been asserted. First published in Great Britain in 2010 by Gallus Publishing 84 High Street Linlithgow EH49 7AQ 01506 847935 [email protected] No part of this book may be produced or transmitted in any form or by any other means without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages. This book was researched, created and published through a Writers Bursary grant in 2008 from the Scottish Arts Council, to whom full thanks are given. All interview texts are the copyright of those interviewed, who are thanked for their generous giving of time, knowledge and thoughts. Particular thanks are due to John Powles, Ian Davison, Stuart McHardy and Geordie McIntyre. Song texts are the copyright of the named creators or their heirs. Particular thanks to Marion Blythman, Kaetzel Henderson, Janette McGinn, Meic Stephens, the families of Norman MacCaig and John MacEvoy, Ian Davison and Seylan Baxter to quote from the relevant works. -
2010 Program
the th Nicol-Brown amateur invitational piping competition 1 October 9, 010 2 St. Andrew’s Episcopal Church Albany, New York, usa www.nicol-brown.org What a weekend! FRIDAY, October 8, 2010 need more piping? Angus MacColl Concert and Nicol-Brown Reception 7:00 to 9:00 pm at St. Andrew’s Episcopal Church Individual and small-group instruction with The 2010 competitors and judge will be introduced, and tune selections for the Donald F. Lindsay — in person at the contest will be announced. Angus MacColl will make beautiful music. Invermark Studio in Petersburgh, New York SATURDAY, October 9, 2010 or at home on your computer with Skype. The Contest! 10:00 am to 7:00 pm at St. Andrew’s Episcopal Church INVERMARK ... it’s all about the music. Celebration Dinner :30 pm at the Holiday Inn at 05 Wolf Road, Albany 105 If you’d like to join us for dinner, please see Barb McCarthy to ask if space is available, and to arrange for payment. SUNDAY, October 10, 2010 Master Class 10:00 am to 1:00 pm at the Invermark Piping Studio 91 Puckertoot Road, Petersburgh, New York 113 Nicol-Brown competitors will have an open lesson with Angus MacColl and Donald Lindsay, who will discuss highlights of the contest and give valuable insight for any pipers wanting to improve their musicianship. Private Lessons with Angus MacColl :00 to 7:00 pm at the Invermark Piping Studio MONDAY, October 11, 2010 Group Workshops with Angus MacColl The Celtic Hall, 430 New Karner Road, Albany, New York 9:00 /4 Marches 11:00 Piobaireachd To attend the classes on Sunday or Monday, please call www.invermark.org Maureen Connor: 518-374-6034.