DOCSLIB.ORG

June Mondays: Irish Traditional Music Session at the Landmark, 8Pm Wednesdays: Sunnyside Singers Club in Woodside

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
June Mondays: Irish Traditional Music Session at the Landmark, 8Pm Wednesdays: Sunnyside Singers Club in Woodside Revised 6/16/17­ changes in red; see also listings on page 7 Folk Music Society of New York, Inc. June 2017 vol. 52 No. 6 June Mondays: Irish Traditional Music Session at the Landmark, 8pm Wednesdays: Sunnyside Singers Club in Woodside, Queens, 8pm 4 Sun Sparks and Sticks; Good Coffeehouse, 4 pm 6 Tue Martin & Shan Graebe and Nordet; John Street Church, 7­9pm 7 Wed Folk Open Sing; 7pm in Brooklyn 12 Mon FMSNY Board of Directors Meeting; 7:15pm; see p. 5 14 Wed Sunnyside Singers Club; perf. Johnny Cuomo, 8pm 18 Sun Shanty Sing on Staten Island, 2­5 pm 29 Thur Newsletter Mailing; 7pm in Jackson Heights, Queens 30 Fri Ice Cream Social; 7:30pm at O.S.A. Hall, 220 E. 23 St. reservations requested ­­ see page 3. July Mondays: Irish Traditional Music Session at the Landmark, 8pm Wednesdays: Sunnyside Singers Club in Woodside, Queens, 8pm 5 Wed Folk Open Sing; 7pm in Brooklyn 10 Mon FMSNY Board of Directors Meeting; 7:15pm; see p. 5 15 Sun Ring Garden Singing Party in Inwood TENTATIVE 16 Sun Shanty Sing on Staten Island, 2­5 pm 19 Wed Sunnyside Singers Club; perf. Brendan O'Shea, 8pm Details on pages 2­3 Table of Contents Events at a Glance.........................1 Calendar Location Info...............14 Society Events Details...............2­3 Survey of Festivals......................16 From the Editor.............................4 Folk Music Society Info..............22 The Folk Process...........................4 Mark Hamburgh Ad....................23 Topical Listing of Society Events.5 Falcon Ridge Ad..........................23 Woody Sezs Ad.............................6 A Song For Jessica Ad.................23 Calendar Listings..........................7 Pinewoods Hot Line....................24 Repeating Events...........................9 Membership Form ­ Join Us!......25 TradMaD Camp (Traditional Music and Dance Camp) Sign up now for this week (almost) at Pinewoods Camp. From Saturday, August 26 to Friday, September 1, 2017, we'll be singing, picking, dancing, jamming, swimming, relaxing; all the things we love about Pinewoods Camp. So REGISTER NOW at: see flyer after page 25 or www.tradmadcamp.org. ­ 1 ­ Irish Traditional Music Session: every Monday, 8-11pm Tenor banjo, harmonica and fiddle player Don Meade and friends get together every Monday night for an Irish traditional music session in the back room of this historic Hell’s Kitchen bar/restaurant. Free admission; food and drink are available. Musicians, singers, and listeners welcome. At the Landmark Tavern, 626 11th Avenue (on 46th St), Manhattan; co­sponsored with and led by Don Meade; for info 212­247­2562 or www. blarneystar.com/ Featured Performers: TBA Sunnyside Singers Club: every Wednesday, 8-11pm Come join us every Wednesday at 8pm for a 3­hour pub style sing­around. All songs are welcome, as are acoustic instruments. Co­sponsored with, and held, at the Aubergine Cafe, 49­22 Skillman Avenue at the corner of 50th Street in Woodside, Queens. Occasionally there is a featured guest performer for part of the evening. Yummy desserts, sandwiches, salads, coffee, tea, wine, and beer are available. Free admission; a voluntary contribution is requested on guest nights. The nearest subway stop is 52ndStreet on the #7 Flushing Local. Info: 718­899­1735. http:// www.facebook.com/sunnysidesingersclub. Featured Performer June 14, Johnny Cuomo Sparks and Sticks: Sunday, June 4th; 4-6pm Sparks and Sticks consists of Richard Cohn (songwriter, vocalist, keys) and Paul Rossman (Drummer, Percussionist). They bring together many years of Blues, Jazz, Americana, Vaudeville, R&B and country music as part of their diverse combined musical experience. They will present original songs, sagas, melodies and musings. Interspersed with legends, history and hearsay and the rendering of some very old songs particularly highlighting the magic and music of a bygone Brooklyn. Coney Island and some of its musical progeny will be featured as will songs of deep Brooklyn import. Paul Rossman is recognized as a superlative drum/ percussion player and teacher. Richard Cohn has played with many groups and has written music for film, TV and commercials. He is also noted as a historian of vanished Coney Island. Sparks and Sticks and their music can cause toes to tap, make grandmas and bikers cry, and take an entire audience on a fun and memorable excursion. You're invited to come along. Co­sponsored with and at the Good Coffeehouse at the Old Stone House, 336 Third Street, in J.J. Byrne Park, between 4th and 5th Avenues, Brooklyn, 718­768­3195; 4­6pm; $10 contribution. Info: fbanjo(at)aol.com; facebook page: http://on.fb.me/1UxthNr. Martin & Shan Graebe and Nordet: Tuesday, June 6th; 7pm Singers, Shan & Martin Graebe, from the UK, will dazzle you with brilliant harmonies and great songs. Their repertoire includes traditional and some newly written songs that sound traditional. Bolstered by Martin's impeccable research on the Baring­Gould collection, they embrace the entire scope of what singers value. Nordet is a fabulous group from Brittany, France who brings tremendous energy to their performances. Strong vocals and instrumentals are the hallmark of this popular group who have performed in maritime festivals worldwide. At John Street Church, 44 John St. (east of Broadway, 1 block south of & parallel to Fulton), near Fulton St. subway stop. Info: 212­957­8386. Contribution: $20 continued on next page ­ 2 ­ Events Details, continued from previous page general admission; members $18. Please note venue is an historic landmark and NOT handicapped accessible – approx. 13 stairs to reach the downstairs venue (facilities are also located on the same downstairs level). Hosted by The New York Packet and co­sponsored by the Folk Music Society of New York. Folk Open Sing: Wednesdays, June 7th and July 5th; 7-10pm Join us on the first Wednesday of each month for an open sing. Bring your voice, instruments, friends, neighbors, and children. Drop by for a couple of songs or the whole evening. At the Ethical Culture Society, 53 Prospect Park West, Brooklyn (near 2nd St.). Directions: F or Q train to 7th Ave.; 2/3 train to Grand Army Plaza. Hosted by Ethical Culture Society, Folk Music Society of NY/NYPFMC, Alison Kelley, Frank Woerner, and Tom Weir. Info: 212­695­5924. Shanty Sing: Sunday, June 18th; 2-5pm We are co­sponsoring the Shanty Sing on the 3rd Sunday of every month. The William Main Doerflinger Memorial Sea Shanty Sessions at the Noble Maritime Collection (to give the official title) are from 2 to 5 pm at the Noble Gallery, Building D, Snug Harbor Cultural Center, 1000 Richmond Terrace, Staten Island. Refreshments are available, including beer and wine for sale. Snug Harbor is accessible by the S40 bus from the Staten Island Ferry Terminal and by car. For more information about the Noble Collection, go to http://www.noblemaritime. org ­­ click on "Visitor Information" for directions and a printable map. For further information contact Bob Conroy: RConroy421(at)aol.com or 347­267­9394. Newsletter Mailing: Thursday, June 29th; 7pm We need you to help to mail out the next Newsletter! Join the important band of volunteers that sticks the stamps and labels, and seals the pages to mail out this newsletter. At the home of Don Wade and Eileen Pentel, 35­41 72nd Street, Jackson Heights (Queens). Near the “74th St” Station of the #7 line or the Roosevelt Ave­ Jackson Heights Station of the E, F and R trains. Info: 718­672­6399 Ice Cream Social and Song Swap; Friday, June 30th; 7:30pm Ice cream and music, what could be better? We’ll supply the ice cream; you bring your appetite for frozen delights and melodious sounds for a song swap plus an old­ time jam. Bring instruments, voices, kids, friends and songs; and have a great time. Prepare a song or tune to lead, sing/play along, tap your feet, or relax and listen. Jam leaders will be Don Friedman and Tom Weir. At OSA Hall, 220 E. 23rd Street, suite 707, (bet. 2nd & 3rd Ave), Manhattan. Contribution $10; children under 12, $5. RSVP & tell us your favorite flavor and if you want non­dairy. E­mail: Don(at)folkmusicny.org or call 718­672­6399. Donate Without It Costing You! You can donate to the club at no cost to you! www.welzoo.com donates a small amount every time you go online if you make them your home page (or make them a secondary page that opens every time you open your browser). If you buy from Amazon, do it through Amazon Smile ­ www.smile.amazon.com. Amazon donates 0.5% of the price of your eligible AmazonSmile purchases to the charitable organization of your choice. The Folk Music Society of New York, Inc. is signed up on both these websites. ­ 3 ­ Summer doth approach. June is the pre­curser and to help us plan our summer vacations, John Mazza has compiled the Festival listings. Thanks you again John for all your hard work compiling this information that is so useful for everyone. We have lots of music to look forward to this month. Join us at our regular Irish Traditional Music Sessions, the Sunnyside Singers Club, the Folk Open Sing, the Shanty Sing on Staten Island, and the Good Coffeehouse. In addition, Martin & Shan Graebe, along with Nordet will be performing on June 6th. We know that summer is really here when we have our Ice Cream Social. Get your reservations in for a sweet and musical time. Remember to register for TradMaD Camp. There are spaces left so you still have a chance to join us at Pinewoods Camp. Great staff, great settings and you—what could be better? Thank you to our newsletter mailers—Clarice Kjerulff, Betsy Mayer, Heather Wood, Margaret Murray, Lynn Cole, Eileen Pentel, and Don Wade.
Load more

Recommended publications
  • 2015 Regional Music Scholars Conference Abstracts Friday, March 27 Paper Session 1 1:00-3:05
    2015 REGIONAL MUSIC SCHOLARS CONFERENCE A Joint Meeting of the Rocky Mountain Society for Music Theory (RMSMT), Society for Ethnomusicology, Southwest Chapter (SEMSW), and Rocky Mountain Chapter of the American Musicological Society (AMS-RMC) School of Music, Theatre, and Dance, Colorado State University March 27 and 28, 2015 ABSTRACTS FRIDAY, MARCH 27 PAPER SESSION 1 1:00-3:05— NEW APPROACHES TO FORM (RMSMT) Peter M. Mueller (University of Arizona) Connecting the Blocks: Formal Continuity in Stravinsky’s Sérénade en La Phrase structure and cadences did not expire with the suppression of common practice tonality. Joseph Straus points out the increased importance of thematic contrast to delineate sections of the sonata form in the beginning of the nineteenth century. Igor Stravinsky exploited other musical elements (texture, range, counterpoint, dynamics, etc.) to delineate sections in his neoclassical works. While theorists have introduced large-scale formal approaches to Stravinsky’s works (block juxtaposition, stratification, etc.), this paper presents an examination of smaller units to determine how they combine to form coherence within and between blocks. The four movements of the Sérénade present unique variations of phrase construction and continuity between sections. The absence of clear tonic/dominant relationships calls for alternative formal approaches to this piece. Techniques of encirclement, enharmonic ties, and rebarring reveal methods of closure. Staggering of phrases, cadences, and contrapuntal lines aid coherence to formal segments. By reversing the order of phrases in outer sections, Stravinsky provides symmetrical “bookends” to frame an entire movement. Many of these techniques help to identify traditional formal units, such as phrases, periods, and small ternary forms.
    [Show full text]
  • Supporting Traditional Music-Making: Designing for Situated Discretion
    Session: Ethnography in the Very Wild February 11-15, 2012, Seattle, WA, USA Supporting Traditional Music-Making: Designing for Situated Discretion Steve Benford, Peter Tolmie, Ahmed Y. Ahmed, Andy Crabtree, Tom Rodden Mixed Reality Laboratory & Horizon Centre for Digital Economy Research The University of Nottingham, Nottingham NG8 1BB, UK ABSTRACT subtle complexities of this etiquette have led to the An ethnographic study of Irish music sessions in pubs publication of „field guides‟ for beginners [13, 20]. elaborates the collaborative work involved in making A diverse range of interests in music, its practices, the traditional music. Central to this distinctive achievement is collaboration that goes on between musicians, and the the sequencing of tunes so that they hang together and sharing of music itself has evolved in recent years. This combine to form discrete „sets‟, which rely on a shared includes work on the design of new instruments for both knowledge of musical repertoires. Our study shows how expert and non-expert musicians [e.g., 5, 6, 21]; support for musicians develop this musical knowledge through the use musical coordination [e.g., 14, 23, 25] and improvisation of digital resources and social networks. It also reveals how [e.g., 7, 8, 9, 19, 29]; and for how people use, share, and musicians construct and make use of various paper props to synchronize music across a range of different social help bring their knowledge to bear in the actual in vivo settings [e.g., 3, 4, 12, 16, 26, 33]. Set against these is the course of a session so as to maintain the moral order of Irish music session, a vitally important feature of which is making music together in a demonstrably traditional way.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
    “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve.
    [Show full text]
  • The Roots Report: Beat the Heat with Cool Shows
    The Roots Report: Beat the Heat with Cool Shows Okee dokee folks … It’s summer. I would be remiss if I didn’t reiterate my feelings about it. I hate summer. I am sorry. I know many of you folks like summer. I am not a fan of the heat and humidity. Fortunately, we are more than halfway through. Music makes the summer easier to deal with – for me anyway. There are still a lot of summer shows to catch while the weather is warm, though sometimes “warm” can be a bit of an understatement. Onward. The Downtown Sundown Series The Downtown Sundown Series has been steadily gaining a solid audience, mostly by word of mouth. Every show brings more folks who are amazed by the talent of the performers and the beauty of Roger Williams National Memorial. Now in its third year, this music series brings free music into downtown Providence two Saturdays per month. Already this season, performers such as WS Monroe, Billy Mitchell, Malyssa Bellarosa, Kala Farnham, Mark Cutler, Heather Rose, Tracie Potochnik, Bob Kendall, Jesse Liam and Jack Gauthier, and others have graced the park stage with their wonderful music. The middle lawn at the Memorial is the perfect spot for a sundown show. The music starts at 7 pm and continues until 9:30 pm, and four performers are featured at each show. The audience members sit back in lawn chairs, lie on blankets or directly on the grass and enjoy some of the best singer- songwriters from the area. Picnickers are welcomed and encouraged.
    [Show full text]
  • A Resource Pack for Key Stage 2
    Jazz A resource pack for Key Stage 2 John Marley August 2018 Contents A brief introduction to Jazz 2 Notes on the resource pack 3 Meet the artist 4 Lesson Plan 1 - An introduction to the origins of Jazz 5 Lesson Plan 2 - An introduction to the Blues 6 Lesson Plan 3 - Learning about chords and the Major Scale 7 Lesson Plan 4 - Recognising common Jazz instruments and 9 learning about the Big Band Lesson Plan 5 - Examining common jazz instruments in more detail 11 Lesson Plan 6 - Recap of the course. Listening to current Jazz artists 13 Appendix 1 - Minims, Crotchets and Quavers 14 Appendix 2 - 12 Bar Blues in C 15 Appendix 3 - Listening list and resources 16 A brief introduction to Jazz The origins of jazz music can be found in the southern states of the USA and more accurately, in New Orleans. This city was the perfect breeding ground for jazz due to its role as a major shipping port. This brought many different cultures and therefore many styles of music to the area. Jazz is a combination of African and European cultures. In New Orleans, the rhythms of Africa fused with European harmony and instrumental technique to create a new genre. This development was gradual and over time, more cultures influenced the music. Rhythms from Latin America also play an important role in early jazz. The first jazz bands improvised in a polyphonic manner - each musician made up their part based on a set of chords and the melody line. This created a busy, yet sophisticated musical dialogue.
    [Show full text]
  • School of Music 2016–2017
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2016–2017 School of Music 2016–2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • Tradition and Innovation in Irish Instrumental Folk Music
    TRADITION AND INNOVATION IN IRISH INSTRUMENTAL FOLK MUSIC by ANDREW NEIL fflLLHOUSE B.Mus., The University of British Columbia, 1990 B.Ed., The University of British Columbia, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2005 © Andrew Neil Hillhouse, 2005 11 ABSTRACT In the late twentieth century, many new melodies were composed in the genre of traditional Irish instrumental music. In the oral tradition of this music, these new tunes go through a selection process, ultimately decided on by a large, transnational, and loosely connected community of musicians, before entering the common-practice repertoire. This thesis examines a representative group of tunes that are being accepted into the common- practice repertoire, and through analysis of motivic structure, harmony, mode and other elements, identifies the shifting boundaries of traditional music. Through an identification of these boundaries, observations can be made on the changing tastes of the people playing Irish music today. Chapter One both establishes the historical and contemporary context for the study of Irish traditional music, and reviews literature on the melodic analysis of Irish traditional music, particularly regarding the concept of "tune-families". Chapter Two offers an analysis of traditional tunes in the common-practice repertoire, in order to establish an analytical means for identifying traditional tune structure. Chapter Three is an analysis of five tunes that have entered the common-practice repertoire since 1980. This analysis utilizes the techniques introduced in Chapter Two, and discusses the idea of the melodic "hook", the memorable element that is necessary for a tune to become popular.
    [Show full text]
  • San Pedro Sing
    THE SOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING JULY - AUGUST &2007 OTHER RELATED FOLK ARTSFolkWorks IN THE GREATER LOS ANGELES AREA Page FREE BI-MONTHLY Volume 7 Number 4 July-August 2007 New World Flamenco Festival La Flor de la Vida, August 10-19 See page 3 INSIDE THIS ISSUE FREE SUMMER CONCERT LISTINGS HAWAIIAN FESTIVALS SEA SHANTIES PLUS... KEYS TO THE HIGHWAY ..that reminds me... ...and More!... cover photo: PHOTO OF JUAN OGALLA BY MIGUEL ANDY MOGG Page 2 FolkWorks JULY - AUGUST 2007 EDITORIAL his July/August issue in your musician teaching listings, etc. Be hands lists a plethora of sum- sure to look at the website and Yahoo PUBLISHERS & EDITORS Tmer concerts. Look at page 3 Group for announcements. We plan to Leda & Steve Shapiro for this summer’s offerings at the Skir- continue our ongoing columns about LAYOUT & PRODUCTION ball, Culver City, Japan American Mu- Music Theory, Old Time Music, Events Alan Stone Creative Services seum, Grand Performances, the Santa Around Town and all the other regular FEATURED WRITERS Monica Pier and the Levitt Pavillion. columnists you love. In fact now you Ross Altman, How Can I Keep From Talking At this time each year, we search will be able to read them online and David Bragger, Old-Time Oracle through the listings and mark in our not have to worry about finding that Valerie Cooley, ...that reminds me... calendar all the wonderful concerts old newspaper article. There is a good Linda Dewar, Grace Notes Roger Goodman, Keys to the Highway we plan on attending. We want here search engine on the site and you can David King, Dirt to thank all the producers who spend find what you want.
    [Show full text]
  • FOLK CLUB of SOUTH FLORIDA ------FOLK NOTES ------Visit Us at for Music Links and Upcoming Events May, 2002
    FOLK CLUB OF SOUTH FLORIDA --------------- FOLK NOTES --------------- Visit us at http://members.aol.com/souflafolk for music links and upcoming events May, 2002 ACOUSTIC UNDERGROUND national audience suggests that God, if not dead, may be seriously tone deaf.” Jeff Murphy, New Times, CONCERT SERIES PRESENTS Miami. “Surgically deep and personal songs … a voice that DIANE WARD caresses your soul like hot butter on pancakes.” Bob Weinberg, City Link, Ft. Lauderdale Few artists visiting Luna Star have the Visit: http://www.dianeward.com credentials and Luna Star Café, Saturday, May 4, 2002 8:00 P.M. background of Diane th Ward. A Miami native, 775 NE 125 Street North Miami, FL 305-892-8522 she has countless Requested Contribution: $7.00 ($6.00 Members) awards for both vocal performance and song Visit: http://members.aol.com/souflafolk writing. She went from drummer, to vocals, to keyboard, to guitar. Her 1995 CD “Mirror” reached the top ten nationally on several AAA radio stations. FOLK FRIDAY PRESENTS Her CD “Move” was awarded Best Rock CD (2000) by City Link. Many of her songs are played FLORIDA FOLK FESTIVAL PREVIEW frequently and have reached the top ten in many cities. She has opened for The Indigo Girls, Cher, For its fiftieth year in May, the 850-acre Stephen Jennifer Kimball. With a smooth voice and a Foster Folk Culture Center State Park in White Springs, masterful pen Diane has been embraced as South Florida on the Suwanee River will ring with the sound Florida’s “musical gem”. of Florida’s finest music, dance and stories.
    [Show full text]
  • Dissertation Final Submission Andy Hillhouse
    TOURING AS SOCIAL PRACTICE: TRANSNATIONAL FESTIVALS, PERSONALIZED NETWORKS, AND NEW FOLK MUSIC SENSIBILITIES by Andrew Neil Hillhouse A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Andrew Neil Hillhouse (2013) ABSTRACT Touring as Social Practice: Transnational Festivals, Personalized Networks, and New Folk Music Sensibilities Andrew Neil Hillhouse Doctor of Philosophy Graduate Department of Music University of Toronto 2013 The aim of this dissertation is to contribute to an understanding of the changing relationship between collectivist ideals and individualism within dispersed, transnational, and heterogeneous cultural spaces. I focus on musicians working in professional folk music, a field that has strong, historic associations with collectivism. This field consists of folk festivals, music camps, and other venues at which musicians from a range of countries, affiliated with broad labels such as ‘Celtic,’ ‘Nordic,’ ‘bluegrass,’ or ‘fiddle music,’ interact. Various collaborative connections emerge from such encounters, creating socio-musical networks that cross boundaries of genre, region, and nation. These interactions create a social space that has received little attention in ethnomusicology. While there is an emerging body of literature devoted to specific folk festivals in the context of globalization, few studies have examined the relationship between the transnational character of this circuit and the changing sensibilities, music, and social networks of particular musicians who make a living on it. To this end, I examine the career trajectories of three interrelated musicians who have worked in folk music: the late Canadian fiddler Oliver Schroer (1956-2008), the ii Irish flute player Nuala Kennedy, and the Italian organetto player Filippo Gambetta.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.
    [Show full text]