DOCSLIB.ORG

V.52#2V.52#2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
V.52#2V.52#2 Instructions for printing your CD Booklet & Tray Card (photo quality inkjet paper recommended): 1. Set your printer properties to the highest possible resolution, with *NO* size, margin or “fit to page” adjustment! 2. Print page 1. Flip the page, re-insert into your printer’s feed tray, print page 2 on the reverse. 3. Cut *just* inside the dotted line and fold in half, and place in the top of your jewel box. 4. Print page 3, score the page along the fold marks. 5. Cut *just* inside the dotted line, finish the folds and place in the bottom of the jewel box. SONGS FROM SING OUT! 15 Bear Creek Blues Trad. arr. The Nephews (The Carter Family) (© 2007 The Nephews) 3:23 from The Nephews’s album The Nephews (self-released) available from (11171 Kerry Rd, Brethren, MI 49619; Ph: 231-477-5381; E-mail: <[email protected]>). See page 97. v.52#2v.52#2 16 Cindy Trad. arr. & adapt. Pop Wagner (© 2007 Arabica Records) 3:22 from Pop Wagner and Dakota Dave Hull’s album Airship (Arabica #11) available from (2515 36th Ave. South, Featuring music from: Minneapolis, MN 55406; Ph: 612-724-6995; Web: <www.dakotadavehull.com>). See page 84. Colin Meloy, Dawn Landes, 17 Hey Little Darlin by Ike O. Sheldon (© Trade Root Music Group, LLC.) 3:35 from The Wilders’ album Someone’s Got To Pay (Free Dirt #0056) available from (John Smith, P.O. Box 11451, Billy Bragg & Takoma Park, MD 20913; Ph: 301-919-0004; Web: <www.freedirtrecords.com>). See page 62. the Young Coppers, 18 (Why Is Your) Heaven So Small by Susan Werner (© 2007 Frank Chance Music / ASCAP) 3:30 from Susan Werner’s album The Gospel Truth (Sleeve Dog #30261) available from (c/o Market Monkeys, PO Hayes & Cahill, Box 960351, Boston, MA 02196; Web: <www.susanwerner.com>). See page 70. Susan Werner, David Rovics, 19 A Woman’s Place by Sara Thomsen (© 2008 Sara Thomsen) 4:04 from Sara Thomsen’s album Everything Changes (self-released) available from (6476 South Range Line Rd, Le Primitifs du Futur, South Range, WI 54874; Ph: 715-374-3239; Web: <www.sarathomsen.com>). See page 86. Habib Koité, The Wilders, 20-21 Harmonica Teach-in Exercises & Banks of Spey Trad. arr. Glenn Weiser (© Glenn Weiser) 1:21 Cris Williamson, previously unreleased material to accompany the Harmonica Teach-In. See page 73. Eric Taylor, Sara Thomsen, Compilation Produced by: Mark D. Moss Lissa Schneckenberger, Mastered by: Charlie Pilzer, Airshow Mastering The Kennedys For more information or a catalog of books and recordings write: ... & many more! Sing Out! • P.O. Box 5460 • Bethlehem, PA 18015-0460 TOLL FREE ORDERS: 1-888-SING-OUT • INTERNET: www.singout.org Exclusively for Sing Out! Basic & Sustaining Members 2008 Sing Out Publications • Sing Out! Recordings SO-522 * * THE SONGS 01 Hard Times of Old England Words: Trad. / Billy Bragg, Music: Trad. arr. Eliza 08 Namania by Habib Koité (© 2007 Cumbancha & Contre-Jour) 4:11 Carthy & Simon Emmerson (© BMG/Topic Records Ltd / Real World Music Ltd) 5:42 from Habib Koité’s album Afriki (Cumbancha #5) available from (413 Carpenter Rd., Charlotte, VT 05445; performed by Billy Bragg and The Young Coppers with Eliza Carthy and Simon Emmerson on The Ph: 802-425-2118 ; Web: <www.cumbancha.com>). See page 49. Imagined Village (Real World #147) available from (dist. by Rykodisc, 30 Irving Place, 3rd Fl., New York, NY 10003-2303; Ph: 212-287-6100; Web: <www.realworldrecords.com>). See page 42. 09 Je Cherche Après Titine Lyrics: Marcel Bertal-Ronn & Louis Maubon, Music: Léo Daniderff (© 2008 Universal Music France) 3:16 02 The Night Poor Larry Was Stretched Trad., arr. & adapt. by Martin Hayes & from Les Primitifs du Futur’s album Tribal Musette (Sunnyside #3078) available from (348 W. 38th St., Ste. Dennis Cahill (© 2008 Maghera Music and Cappal Beag Music / BMI) 2:16 12B, New York, NY 10018; Ph: 212-564-4606; Web: <www.sunnysidezone.com>). See page 35. from Martin Hayes and Dennis Cahill’s album Welcome Here Again (Green Linnet #1233) available from (P.O. Box 1905, Danbury, CT 06813-1905; Ph: 800-468-6644; Web: <www.greenlinnet.com>). See page 27. 10 I Wish I Had That Mandolin by Kevin Welch (© Monkey Head Songs / SESAC) 4:16 from Kieran Kane, Kevin Welch and Fats Kaplin’s album Kane Welch Kaplin (Compass #4464) available 03 After the Revolution by David Rovics (© 2003) 5:32 from (916 19th Ave. South, Nashville, TN 37212; Ph: 800-757-2277; Web: <www.compassrecords.com>). from David Rovics’s album Return (Ever Reviled #0005) available from (P.O. Box 222, Jersey City, NJ See page 16. 07303-0222; Ph: 973-493-1637; Web: <www.everreviledrecords.com>). See page 78. 11 In My Dreams by Pete & Maura Kennedy (© 2007 Cherry Log Music / Cherry River Music / BMI) 2:39 04 We Both Go Down Together by Colin Meloy (© Music of Stage Three / from The Kennedys’ album Better Dreams (Appleseed #1107) available from (P.O. Box 2593, West Chester, Osterozhna! Music / BMI) 3:10 PA 19380; Ph: 610-701-5755; Web: <www.appleseedrec.com>). See page 6. from Colin Meloy’s album Colin Meloy Sings Live! (Kill Rock Stars #468) available from (12 NE State Ave. #418, Olympia, WA 98506; Web: <killrockstars.com>). See page 56. 12 The Drowsy Sleeper Trad. arr. Lissa Schneckenburger (© 2008 Footprint Records) 4:25 from Lissa Schneckenburger’s album Song (Footprint #2008) available from (446 St. John’s Pl. #1C, 05 Get A Witness by Garnet Rogers (© Snow Goose Songs / SOCAN) 4:56 Brooklyn, NY 11238; Web: <www.lissafiddle.com>). See page 22. from Garnet Rogers’ album Get A Witness Live (Snow Goose #1133) available from (1051 Woodburn Rd., RR #1, Hannon, ON L0R 1P0, Canada; Ph: 905-692-4020; Web: <www.garnetrogers.com>). See page 92. 13 Tired of This Life by Dawn Landes (© 2006 Cropduster Music / BMI) 3:01 from Dawn Landes’s album Fireproof (Cooking Vinyl USA #3318) available from (69 Folsom Ave., 06 Glass of Rose by Cris Williamson (© Cris Williamson / Bird Ankles Music / BMI) 4:41 Huntington Station, NY 11746; Ph: 631-427-0697; Web: <www.cookingvinyl.com>). See page 18. from Cris Williamson’s album Fringe (Wolf Moon #96457) available from (P.O. Box 30067, Seattle, WA 98103; Web: <www.criswilliamson.com>). See page 28. 14 Feed My Sheep Trad. arr. Robin & Linda Williams (© 2007 Red House Records) 2:44 from Robin and Linda Williams’s album Radio Songs (Red House #204) available from (P.O. Box 4044, 07 The Peppercorn Tree by Eric Taylor (© 2007 Blue Ruby Music / BMI) 6:47 501 W. Lynnhurst Ave., St. Paul, MN 55104; Ph: 800-695-4687; Web: <www.redhouserecords.com>). See from Eric Taylor’s album Hollywood Pocketknife (Blue Ruby #003) available from (P.O. Box 282, Weimar, page 74. TX 78962; Web: <www.bluerubymusic.com>). See page 50. Score to fold. Score to fold. 52/2 compilation produced by Mark D. Moss 52/2 THE SONGS mastered by Charlie Pilzer, Airshow Mastering 01 Hard Times of Old England (The Imagined Village) 5:42 S 02 The Night Poor Larry Was Stretched (Martin Hayes & Dennis Cahill) 2:16 ONGS 03 After the Revolution (David Rovics) 5:32 2008 04 We Both Go Down Together (Colin Meloy) 3:10 05 Get A Witness (Garnet Rogers) 4:56 FROM 06 www.singout.org Glass of Rose (Cris Williamson) 4:41 : UMMER S 07 The Peppercorn Tree (Eric Taylor) 6:47 ! 08 Namania (Habib Koité) 4:11 S NTERNET I UT 09 Je Cherche Après Titine (Les Primitifs du Futur) 3:16 ING • 10 I Wish I Had That Mandolin (Kieran Kane, Kevin Welch & Fats Kaplin) 4:16 O Bethlehem, PA 18015-0460 Bethlehem, PA O 11 • In My Dreams (The Kennedys) 2:39 ING 12 The Drowsy Sleeper (Lissa Schneckenburger) 4:25 UT S 13 Tired of This Life (Dawn Landes) 3:01 ! 14 Feed My Sheep (Robin & Linda Williams) 2:44 S UMMER 1-888-SING-OUT 1-888-SING-OUT 15 : Bear Creek Blues (The Nephews) 3:23 P.O. Box 5460 P.O. FROM 16 Cindy (Pop Wagner & Dakota Dave Hull) 3:22 17 RDERS Hey Little Darlin (The Wilders) 3:35 2008 O 18 (Why Is Your) Heaven So Small (Susan Werner) 3:30 REE ONGS Sing Out! • 19 F A Woman’s Place (Sara Thomsen) 4:04 S 2008 Sing Out Publications • Out! Recordings SO-522 For more information or a catalog of books and recordings write: information or a catalog of books and recordings For more 20-21 OLL Harmonica Teach-in Exercises & Banks of Spey (Glenn Weiser) 1:21 T Score to fold. Score to fold..
Load more

Recommended publications
  • Representation Through Music in a Non-Parliamentary Nation
    MEDIANZ ! VOL 15, NO 1 ! 2015 DOI: 10.11157/medianz-vol15iss1id8 - ARTICLE - Re-Establishing Britishness / Englishness: Representation Through Music in a non-Parliamentary Nation Robert Burns Abstract The absence of a contemporary English identity distinct from right wing political elements has reinforced negative and apathetic perceptions of English folk culture and tradition among populist media. Negative perceptions such as these have to some extent been countered by the emergence of a post–progressive rock–orientated English folk–protest style that has enabled new folk music fusions to establish themselves in a populist performance medium that attracts a new folk audience. In this way, English politicised folk music has facilitated an English cultural identity that is distinct from negative social and political connotations. A significant contemporary national identity for British folk music in general therefore can be found in contemporary English folk as it is presented in a homogenous mix of popular and world music styles, despite a struggle both for and against European identity as the United Kingdom debates ‘Brexit’, the current term for its possible departure from the EU. My mother was half English and I'm half English too I'm a great big bundle of culture tied up in the red, white and blue (Billy Bragg and the Blokes 2002). When the singer and songwriter, Billy Bragg wrote the above song, England, Half English, a friend asked him whether he was being ironic. He replied ‘Do you know what, I’m not’, a statement which shocked his friends. Bragg is a social commentator, political activist and staunch socialist who is proudly English and an outspoken anti–racist, which his opponents may see as arguably diametrically opposed combination.
    [Show full text]
  • Download Transcript (131Kb PDF)
    Julian Wolfreys, ‘I have only one culture, and it is not mine’: Professions of English Diaspora UCDscholarcast Series 4: (Spring 2010) Reconceiving the British Isles: The Literature of the Archipelago Series Editor: John Brannigan Series Producer: P.J. Mathews © UCDscholarcast 1 Julian Wolfreys, ‘I have only one culture, and it is not mine’: Professions of English Diaspora Julian Wolfreys ‘I have only one culture; and it is not mine’: Professions of English Diaspora? Where I live, on Sunday mornings in spring and early summer I can hear two sounds, one natural, the other technological: sheep, lambs and church bells combine, in rhythmic and arrhythmic canon and counterpoint. It is an aural image, unchanged more or less for several hundred years. It is disrupted only by the interruption of an incoming cut-price flight, making its final descent into East Midlands Airport. However brief the access to the sempiternal is, it remains, nevertheless, as if a moment in time were both opened and suspended, as if I were witness to the voices of a cyclical, communal temporality, voices which have a ground, and which give ground to identity and a sense of being in the same location. In hearing this, my momentary conceit is that I am joined to all those, living and dead, who have heard something similar, and who have therefore been marked by, and have left their otherwise anonymous marks on location. Neither a moment of unbroken continuity nor one of sundered discontinuity, but instead an instant in which, through which, there is the analogical apperception of a ghostly contiguity.
    [Show full text]
  • Sarah Morgan
    Context statement – Sarah Morgan Community Choirs – A Musical Transformation A review of my work in management, music, choir leadership and folk-song. The University of Winchester Faculty of Arts Submitted by Sarah Morgan to the University of Winchester The context statement for the degree of Professional Doctorate by Contribution to Public Work This context statement has been completed as a requirement for a Post-Graduate Research Degree of the University of Winchester. The word count in this document is 39, 933. This context statement is available for library use on the understanding that it is copyright material and that no quotation from this statement may be published without proper acknowledgement. I certify that all material in this context statement which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. In accordance with the customs and norms of the host institution, it has not been possible in this work to anonymise organisations. 1 Context statement – Sarah Morgan University of Winchester Abstract for context statement: Community Choirs – A Musical Transformation A review of my work in management, music, choir leadership and folk-song. Sarah Margaret Morgan Faculty of Arts Professional Doctorate by Contribution to Public Work Submission date September 2013 2 Context statement – Sarah Morgan Abstract: My aims have always been to present an exploration of English community choirs, their music and their leadership from a very personal perspective, which brings together my background as a folk musician, my career in training and facilitation, and my developing understanding of a system of musical hierarchies which (though often unspoken) inform and colour not only my own musical experience but that of many others.
    [Show full text]
  • Investigating the Health of the UK Folk Club Dr Stephen Henderson Senior
    Investigating the health of the UK folk club Dr Stephen Henderson Senior Lecturer Leeds Metropolitan University UK Centre for Events Management Room 216 Bronte Hall Headingley Campus Leeds LS6 3QS United Kingdom Telephone: 0113 812 5514 Email: [email protected] Abstract This research addresses the conflicting views of the health of folk music by way of interviewing artists, agents, and folk club organisers/promoters. Exploring the more homogenous formats of performance observed as singarounds (including sessions), ‘open mic’ and concert clubs, it is concluded that the concert club is struggling to survive whilst the other formats are still offering opportunities to folk artists. However, the latter are finding both the formal venues such as arts centres and the emergence of young promoters provides compensatory opportunities for performance. 1. Aim of Research For many years, folk clubs have provided places of congregation for those of like musical mind to discuss, perform, enjoy and share their music. This paper explores the state of health found within the UK folk club scene where the phrase ‘folk revival’ seems to be mentioned as often as concerns are raised about the future of the folk club. In considering the state of the folk club, this work concentrates on the business models represented by different folk club formats and their relative health as opposed to the complex ethnomusicology behind the folk music format. 2. Methodology In order to address the health of the folk club, the author has interviewed twelve individuals including the artists who play these clubs, agents who book out the artists across the many venues and organisers/promoters who book the artists into these venues.
    [Show full text]
  • The Second English Folk Revival, C. 1945-1970 Julia Yvonne Mitchell
    Subterranean Bourgeois Blues: The Second English Folk Revival, c. 1945-1970 Julia Yvonne Mitchell UCL This thesis is submitted for the degree of PhD. 2 I, Julia Yvonne Mitchell, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract This thesis explores the folk revival phenomenon in England, through an original examination of its place in the social and political history of the country after the Second World War. Although its roots stretched back to the early twentieth century, the post- war English folk revival significantly occurred in the context of the nation’s de- industrialisation, and exposed tensions between, on the one hand, a nostalgic lament for a fast-disappearing working class life, and a ‘forward-looking’ socialist vision of working-class culture. The original contribution to knowledge of this project lies in its analytic approach to the English folk revival as an important part of the post-war political culture. It looks at the revival from the outside in, and contextualizes the movement in the social and political story of post-war England, while also placing it within a dynamic transnational framework, a complex cross-Atlantic cultural exchange with its more well-known American contemporary. In so doing, this thesis contributes to the existing historiographies of folk revivalism in England, as well as the social and political historiographical discourses of the postwar period: the continued salience of class in English society; the transformation of the nation’s economic infrastructures; the social and political influence of the Welfare State – the folk revival tapped into all of these overlapping strands, and helped to magnify them.
    [Show full text]
  • What'son.Professional Layout 1
    What’s on musicSeptember 2012 – January 2013 Choir | Jazz | Musical Theatre | Recital | Rock | Opera www.chi.ac.uk/music Contents University of Chichester Music Academy (UCMA) Jazz 04 Music Events September to January 06 – 51 Useful Information 52 Ticket Details 53 How to find us 54 – 55 University of Chichester Music Academy (UCMA) 56 – 59 02 musicWhat’s on Welcome Did you know… You can now use a ‘Tchi’ in payment for seeing a concert The TCHI is a local currency scheme designed to aid community volunteering and skills exchange. It provides an alternative currency for people in the Chichester district. TCHI notes are a paper currency with a nominal value of one hour. The University of Chichester Music Department became the first independent partner of the TCHI in January 2012, extending the use of the TCHI beyond private membership into the public domain. The Music Department will accept TCHIs for entry to many of its concerts and productions from September 2012 onwards. Where TCHIs can be used to access events, they will be marked ‘Tchi accepted’ in this booklet. You will be required to reserve your seat online and ‘pay in’ your Tchi on the door, on the day of the concert. The Music Department will be offering students and Transition Chichester members regular opportunities to earn TCHIs by volunteering as part of the production set build and costume teams. Opportunities will be advertised through the Music Department and Transition Chichester network. To whet your appetite, here are some of the kinds of tasks often required: • Pattern cutting for costumes • Costume making • Costume alterations and repairs • Prop making • Set building (Carpentry) • Scene painting (including simple priming) • PR and editorial writing • Distributing flyers and posters • Photography and filming Find us at: www.facebook.com/ChiUniMusicEvents Follow us on twitter at www.twitter.com/ChiUniMusic 03 musicWhat’s on University of Chichester Music Academy (UCMA) Jazz UCMA Jazz is an exciting new approach to engaging young musicians with jazz.
    [Show full text]
  • Essentialism and Multiculturalism in Contemporary English Folk Music
    This is a repository copy of Identifying the English: essentialism and multiculturalism in contemporary English folk music. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/113147/ Version: Accepted Version Article: Keegan-Phipps, S. orcid.org/0000-0002-3873-9455 (2017) Identifying the English: essentialism and multiculturalism in contemporary English folk music. Ethnomusicology Forum. ISSN 1741-1912 https://doi.org/10.1080/17411912.2017.1302809 © 2017 The Author(s). This is an author produced version of a paper subsequently published in Ethnomusicology Forum. Uploaded in accordance with the publisher's self-archiving policy. Reuse This article is distributed under the terms of the Creative Commons Attribution (CC BY) licence. This licence allows you to distribute, remix, tweak, and build upon the work, even commercially, as long as you credit the authors for the original work. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Identifying the English: essentialism and multiculturalism in contemporary English folk music Simon Keegan-Phipps Department of Music, University of Sheffield, UK Recent trends in ethnomusicology have included a growing concern with indigeneity. A conceptual alternative to the discipline’s long-standing preoccupations with diaspora, indigeneity is frequently characterised through a narrative in which ‘native’ groups assert their identity in opposition to an invading—historical or contemporary—oppressor.
    [Show full text]
  • English Folk Music As World Music. In: International Association for the Study of Popular Music Conference, 13­17 Jul 2009, University of Liverpool
    Winter, T and Keegan-Phipps, S (2009) English Folk Music as World Music. In: International Association for the Study of Popular Music Conference, 13-17 Jul 2009, University of Liverpool. Downloaded from: http://sure.sunderland.ac.uk/id/eprint/6272/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Conference Proceedings Edited by Geoff Stahl and Alex Gyde International Association for the Study of Popular Music IASPM09 - LIVERPOOL (QJOLVK)RON0XVLFDV:RUOG0XVLF 'U7ULVK:LQWHUDQG'U6LPRQ.HHJDQ3KLSSV here has been, building over the last 10 years or PRYHPHQWWRZDUGVZRUOGPXVLFZLWKVSHFL¿FUHIHUHQFH Tso, a resurgence of interest in English folk arts to the band The Imagined Village, before going on to – that is, in folk or traditional music, and dance that consider what it means for English folk music to be H[SOLFLWO\RIWHQHPSKDWLFDOO\LGHQWL¿HVLWVHOIDVEnglish. reframed in this way, and in particular to examine the Folk festivals in England have become increasingly constructions of Englishness that are associated with popular; an increasing number of professional folk it. acts are foregrounding their Englishness; and it is now easier to secure bookings for English bands in England The discourse of ‘English folk music as world music’ WKDQIRU,ULVKRU&HOWLFLGHQWL¿HGEDQGV $ODQ%HDUPDQ has emerged and developed over the last decade. It LQWHUYLHZ 0DUFK 7KH SUR¿OH RI IRON KDV appears to enter into public circulation in April 1997 with increased beyond the boundaries
    [Show full text]
  • Woman, Artist, Other. Female Folk Singers in the Media Jyväskylä: University of Jyväskylä, 2020, 100 P
    JYU DISSERTATIONS 176 Noora Karjalainen Woman, Artist, Other Female Folk Singers in the Media JYU DISSERTATIONS 176 Noora Karjalainen Woman, Artist, Other Female Folk Singers in the Media Esitetään Jyväskylän yliopiston humanistis-yhteiskuntatieteellisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston vanhassa juhlasalissa S212 tammikuun 23. päivänä 2020 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities and Social Sciences of the University of Jyväskylä, in building Seminarium, auditorium S212, on January 23rd 2020 at 12 o´clock noon. JYVÄSKYLÄ 2020 Editors Helen Mäntymäki Department of Language and Communication Studies, University of Jyväskylä Päivi Vuorio Open Science Centre, University of Jyväskylä Copyright © 2020, by University of Jyväskylä Permanent link to this publication: http://urn.fi/URN:ISBN:978-951-39-8003-0 ISBN 978-951-39-8003-0 (PDF) URN:ISBN:978-951-39-8003-0 ISSN 2489-9003 ABSTRACT Karjalainen, Noora Woman, Artist, Other. Female Folk Singers in the Media Jyväskylä: University of Jyväskylä, 2020, 100 p. (JYU Dissertations ISSN 2489-9003; 176) ISBN 978-951-39-8003-0 (PDF) The aim of this dissertation is to show how the media representation of female folk singers is constructed. To find out what kinds of narratives emerge from it, it is important to understand that this media representation is based on processes of remembering and premediation. Methods of close reading and analysis were applied in examining concert and album reviews, interviews and articles written about four contemporary female folk singers: Julie Fowlis, Muireann Nic Amhlaoibh, Emily Portman and Kate Rusby. The findings show how deeply embedded in cultural memory the presentation of a female folk singer is and how extensively it is used in constructing media representation of these singers.
    [Show full text]
  • BBC 4 Listings for 20 – 26 September 2008 Page 1 of 3 SATURDAY 20 SEPTEMBER 2008 (B0074nn6) the Legend of the Unicorn
    BBC 4 Listings for 20 – 26 September 2008 Page 1 of 3 SATURDAY 20 SEPTEMBER 2008 (b0074nn6) the legend of the unicorn. [Repeat of broadcast at 19:00 today] SAT 19:00 Alistair Cooke: Postcards from America (b0074nn6) SUN 22:00 Incredible Animal Journeys (b0079430) Alistair Cooke broadcast his Letter from America on Radio The Whales' Tale Four for more than 50 years. Using film archive and excerpts SUNDAY 21 SEPTEMBER 2008 from his broadcasts, the film covers such events as Kennedy's Steve Leonard follows grey whales as they make the longest assassination, the Civil Rights movement and the terrorist SUN 19:00 Fossil Detectives (b00djmrx) migration on the planet - a staggering 12,000 miles. Although atrocities of September 11th. South West England they travel slowly, the whales never stop and Steve finds it increasingly difficult to keep up. Harassed by killer whales, Series in which Open University associate lecturer Hermione dodging fishing nets and great white sharks, can the mothers SAT 20:00 The Unseen Alistair Cooke (b00cl5v2) Cockburn leads a team of fossil experts and geologists around and calves survive this epic journey? Marking the 2008 centenary of Alistair Cooke's birth, this different regions of Britain to search for its fossil treasures and documentary is a revealing portrait of one of the most mysteries. celebrated broadcasters of the 20th Century, whose Radio 4 SUN 23:00 President Hollywood (b00djm6q) programme Letter from America spanned 58 years. In the south-west of England, the team see Britain's best- Jonathan Freedland reveals how 2008's dramatic race for the preserved dinosaur, complete with crocodile teeth in its mouth White House was run before on 'The West Wing'.
    [Show full text]
  • Rhizomatic Thinking and Traditional Music As Difference-In-Itself
    Rhizomatic Thinking and Traditional Music as Difference-in-Itself: A Virtual Historical Revision of England’s Victorian/Edwardian Folk Revival Submitted by Joseph Williams in fulfilment of the requirements for the degree of Doctor of Philosophy, in the field of Musicology, at Western Sydney University, in 2019. ii Acknowledgements I owe a great debt to Associate Professor Sally Macarthur, whose guidance in the use of Deleuze and Guattari’s philosophy throughout the process of proposing, researching, and preparing this dissertation has been invaluable. Sally’s generosity in freely sharing her wisdom and commitment as both a mentor and an advocate have been instrumental in allowing me to complete this research and to build experience and confidence in the academic profession. I am also indebted to Doctor Maria Angel, who was particularly influential in advising the development of this project in its formative stages. My friends and informal mentors in the Music faculty at Western Sydney University—including, in no particular order, Doctor Clare Maclean, Professor Diana Blom, Associate Professor Bruce Crossman, John Encarnacao, Doctor Ian Stevenson, Doctor Brendan Smyly, Doctor Michelle Stead, and Jacob Leonard—have never been reluctant to share the benefits of their experience and insight in discussions around my research in its various iterations. I am also grateful for the input that has come from the broader academic and student community in the School of Humanities and Communication Arts, and in particular from Associate Professor Anna Cristina Pertierra, Peter Long, Jimmi Carr, Peter Hughes, and Narelle Ontivero. Doctor Wayne Peake has been indispensable as a guide to the bewildering warren of internal systems and processes within the university.
    [Show full text]
  • The Imagined Village – Brittifolkin Menneisyys, Nykyisyys Ja Tulevaisuus
    Tom Oldham The Imagined Village – brittifolkin menneisyys, nykyisyys ja tulevaisuus Isossa-Britanniassa vuonna 2004 perustettu The Imagined Village on enemmän kuin yhtye. Se on painava puheenvuoro keskusteluun englantilaisesta identiteetistä. Yhtye päivittää brittifolkin 2000-luvulle mutta kysyy samalla, kenellä on oikeus määrittää aidon englantilaisuuden kriteerit. Vaikka yhtyeen toiminnan taustalla on monikulttuurisuuden ja modernin englantilaisuuden sanoma, antaa The Imagined Village musiikkinsa toimia manifestina. The Imagined Village tuo yhteen vuosisatoja vanhat, suullisen tradition kautta nykypäivään asti kulkeneet kappaleet sekä modernit populaarimusiikin alalajit kuten electron, reggaen ja bhangran. Lisäväriä tuovat nyky-Britannian monimuotoisuudesta kertovat etniset vaikutteet. Viulujen ja kitaroiden lomassa soivat myös mm. sitar ja dhol-rumpu. Aivan kuten kylän asukkaat vaihtuvat, myös The Imagined Villagen ”kuvitteellisen kylän” kokoonpano elää jatkuvasti. Kun yhtyeen kehuttu ensilevy julkaistiin vuonna 2007, oli joukossa mukana niin Paul Wellerin ja Billy Braggin kaltaisia rock-veteraaneja kuin folkin parissa kasvaneita Britannian eturivin muusikoita kuten isä ja tytär Martin ja Eliza Carthy. Toisella albumilla Empire & Love (2010) kylän tunnelma muuttui hiukan, kun jälkimmäiset ottivat vallan haltuunsa. Tällä hetkellä kyläneuvostoon kuuluu Carthyjen lisäksi mm. palkittu viulisti-laulaja Jackie Oates, intialaisperäiset sitaristi Sheema Mukherjee ja perkussionisti Johnny Kalsi sekä Afro Celt Sound Systeminkin perustanut kyläidean
    [Show full text]