East St Music a Nominees
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In Collaboration with CSTM/SCTM
FEREN CON CE PROGRAM laboration with CSTM/ In col SCTM IC TM 2011 WE’RE PROUD TO WELCOME THE 41ST WORLD CONFERENCE OF ICTM to Memorial University and to St. John’s, Newfoundland and Labrador. This is a unique corner of Canada, the only part that was once an independent country and then the newest Canadian province (since 1949) but one of the oldest meeting points for natives and new- comers in North America. With four Aboriginal cultures (Inuit, Innu, Mi’kmaq, Métis); deep French, English, Irish, and Scottish roots; and a rapidly diversifying contemporary society, our citizens have shared a dramatic history, including a tsunami, an occupation during WWII, a fragile dependence on the sea including a cod moratorium in recent decades, a key role in the events of 9/11, and more recently, an oil boom. Its nickname – The Rock – tells a lot about its spectacular geography but also about its resilient culture. Traditional music and dance are key ingredients in life here, as we hope you will learn in the week ahead. Our meetings will take place at Memorial University, shown in the foreground of the photo below, and in the Arts & Culture Centre just to the west of the campus. To celebrate the conference themes in music itself, and to bring the public in contact with the remarkable range of scholars and musicians in our midst, we have organized the SOUNDshift Festival to run concurrently with the World Conference of ICTM. Five concerts, open to delegates and the general public, workshops by ICTM members and musicians featured on the concerts, and films are available as part of this festival. -
Papa Haydn Soundtracks Live Valentine's Special
Photographer: Lisa Marie Mazzucco Bella Hristova, violin PAPA HAYDN SOUNDTRACKS LIVE wso.ca I 204-949-3999 VALENTINE’S SPECIAL MESSAGE FROM THE CHAIR OF THE WSO BOARD As the New Year begins, let me wish you all a very happy and healthy year. And, a musical year.What better way is there to bring happiness into your life than with music, especially the music of our own, fabulous WSO? I would like to introduce myself as the new President of the Board of Directors.This is my sixth year as a member of the Board and my first as President. Music has always been a part of my life. My tastes are eclectic, ranging from “old-school”rock and roll to folk to jazz and opera, and, of course, classical. Giving back to my community is also something that is important in my life. So, when, I was asked to join the Board of the Symphony, in 2011, I didn’t hesitate.To be chosen, this past September, as President of one of the jewels of Winnipeg’s renowned cultural scene is a great honour. The Board has two principal roles. One is to provide oversight of the management of the Orchestra to ensure that it continues to operate.The fact that, in a few weeks, it will be seventy years since the incorporation of the WSO attests to the success of past and present Boards in this goal.The second responsibility is to play a significant role in ensuring financial stability.The WSO depends on three sources of income: ticket sales, government grants and charitable donations.With much competition for entertainment dollars, there is a limit to the amount to be raised through ticket sales.With so many demands on public resources, the same is true of government funding. -
Boy on Bridge – Alan Doyle Alan Doyle Always Loved the Spotlight
Boy On Bridge – Alan Doyle Alan Doyle always loved the spotlight. Although he was inclined to be the leader in anything he did, there was no place for a singer or guitar player in the Petty Harbour, NL school band, so he learned drums, all the better to make the maximum impact. He was just a teenager when he left home and moved to Newfoundland’s capital, St. John's. Although Alan pursued a BA in English and religion at Memorial University, music was his real passion. He honed his performing skills as a solo artist in the city’s pubs, standing on miniscule stages, belting out folk songs and the classic rock for the rowdy patrons. It was a rough musical education, but one from which he graduated with honours, developing the thick skin, utter fearlessness and iron larynx needed to go with his natural talent. In 1993, he joined forces with fellow pub warriors Sean McCann, Bob Hallett, and Darrell Power, and together they started Great Big Sea, where they fused Newfoundland traditional music with their own pop sensibilities. Doyle assumed the role of lead singer, and the band-mates began to assault the music business from their Newfoundland base. 19 years later, the band continues to astonish crowds around the world with their energy, musical skill and an ingrained inability to take themselves too seriously. A major band in Canada for a generation, their nine albums and two DVD releases have been declared Gold or Platinum. In the United States they are considered a major concert attraction, and play sold out theatres and hockey arenas across the continent. -
1 Vernacular Song, Cultural Identity, and Nationalism in Newfoundland
www.ucalgary.ca/hic/ · ISSN 1492-7810 2004 · Vol. 4, No. 1 Vernacular Song, Cultural Identity, and Nationalism in Newfoundland, 1920-1955 E. David Gregory Abstract Although a force in Newfoundland politics and culture, nationalist sentiment was not strong enough in 1948 to prevent confederation with Canada. The absence among many Newfoundlanders of a strong sense of belonging to an independent country was the underlying reason for Smallwood’s referendum victory. Most islanders were descendants of immigrants from either Ireland or the English West Country. Nowadays, they view themselves as Newfoundlanders first and foremost but it took centuries for that common identity to be forged. How can we gauge when that change from old (European) to new (Newfoundland) identity took place in the outport communities? Vernacular song texts provide one valuable source of evidence. Three collections of Newfoundland songs – Gerald Doyle’s The Old Time Songs and Poetry of Newfoundland, Elisabeth Greenleaf’s Ballads and Sea Songs from Newfoundland, and Maud Karpeles’ Folk Songs from Newfoundland – illuminate the degree to which by the late 1920s a Newfoundland song-culture had replaced earlier cultural traditions. These songs suggest that the island was still a cultural mosaic: some outports were completely Irish, others were English, and in a few ethnically-mixed communities, including St. John’s, there was an emergent, home-grown, patriotic song-culture. Cultural nationalism was still a minority tradition in the Newfoundland of 1930. Just as the separatist movement in Québec seems to be waning, the call for an independent Newfoundland appears once more to be finding resonance among sections of the province's population. -
References & Resources
REFERENCES & RESOURCES Compiled by Rebecca Draisey-Collishaw Version 1.1 (28 August 2018) © Irish Traditional Music Archive & the contributors Non-commercial use permitted http://rightsstatements.org/vocab/InC-NC/1.0/ Websites, digital archives & other online resources Websites, online exhibits, and digital catalogues/indexes relating to the history and culture of Newfoundland and Labrador, English-language song traditions, and collections of Newfoundland song, music, dance, and stories. Bodleian Libraries. N.d. Broadside Ballads Online. University of Oxford. http://ballads.bodleian.ox.ac.uk/ A digital archive of ballad sheets. Digital versions of broadsides are searchable according to titles, themes, collections, dates, printers/publishers, locations, and Roud numbers. Dohey, Larry. N.d. Archival Moments: Selections from the Archives, Live from St John’s, NL. Blog. http://archivalmoments.ca/ A blog about Newfoundland and Labrador’s history and culture. Authored by the Director of Programming for The Rooms Provincial Archives, each post focuses on a ‘moment’ in provincial history and associates that narrative with the archival collections held in the provincial archives and museum. English Folk Dance and Song Society. N.d. The Vaughan Williams Memorial Library: The Essential Folk Resource. https://www.vwml.org/ The website of the Vaughan Williams Memorial Library is the home of the Roud Folksong Index, a database of more than 240,000 references to songs that have been collected from English- language oral traditions from all over the world—including Ireland and Newfoundland. The site also provides access to the Vaughan Williams Memorial Library’s full catalogue and a range of archival resources and collections relating to English-language folk song and music. -
Do You Play Newfoundland Music? Tracking Traditional Music in the Tourist Imaginary
Do You Play Newfoundland Music? Tracking Traditional Music in the Tourist Imaginary HOLLY EVERETT Abstract: Music-making is assumed to be a significant part of the Newfoundland and Labrador tourist imaginary. This introductory exploration of the construction of traditional music in Newfoundland and Labrador tourism considers how people working in the music and tourism industries perceive tourist desire 43 (1): 112-131. 43 (1): for traditional music. The occupational perspectives of musicians and tourism industry professionals is contrasted with statistical data concerning non-resident visitors, as they are more likely to be seeking out Newfoundland traditional music for the first time. Interview data supports the existence of a niche market MUSICultures for traditional music aficionados as well as tourists generally interested in local culture, although this is not yet reflected in provincial tourism surveys and reports. Résumé : Les joueurs de musique traditionnelle sont censés constituer une partie importante de l’imaginaire touristique de Terre-Neuve et du Labrador. Cette exploration préliminaire, dans cette province, de la représentation de la musique traditionnelle dans le tourisme, considère la façon dont les gens qui travaillent dans le domaine de la musique et ceux qui travaillent dans l’industrie du tourisme perçoivent l’attirance des touristes pour la musique traditionnelle. Les points de vue des musiciens et des professionnels de l’industrie du tourisme sont mis en contraste avec des données statistiques au sujet des visiteurs, lesquels sont plus susceptibles d’être en quête pour la première fois de musique traditionnelle terre-neuvienne. Les données des entrevues confirment l’existence d’un marché de niche pour les passionnés de musique traditionnelle, ainsi que pour les touristes qui s’intéressent plus généralement à la culture locale, bien que cela ne transparaisse pas dans les études et les rapports portant sur le tourisme au niveau provincial. -
Great Big Sea, Trad-Pop and Folksong
Fostering Local Identity: Great Big Sea, Trad-Pop and Folksong Sarah J. Moore, Memorial University of Newfoundland Introduction to spend time with his family and pursue other interests. On its most recent album, Something Newfoundland and Labrador’s distinct regional Beautiful, the band replaced Power with bassist identity, based on historical, economic and social Murray Foster, and added a percussionist, Kris factors, is recognized by Newfoundlanders and MacFarlan. Canadians alike. The existence of Newfoundland’s distinct and tangible cultural identity is evident in the One of the main reasons Great Big Sea is a success in popular music of the province, which often highlights Canada is due to hard work and constant touring. Newfoundland’s distinct heritage. An examination of The band has performed up to 200 dates per year, and the Newfoundland band Great Big Sea will provide each summer plays at folk festivals in Europe and the an example of Newfoundland’s popular music and United States. It has opened for rock stars such as show that it is aurally recognizable and different from Sting and The Tragically Hip, as well as for folk other popular music produced in the country. giants Sinead O’Connor and The Chieftains. In Although, in the context of pervasive North Canada, Great Big Sea has performed musical American pop culture, it is remarkable that collaborations with Blue Rodeo and La Bottine Newfoundland music currently retains any aspects of Souriante. The group has achieved the status of traditional “island culture,” Great Big Sea “headliner” for both folk and pop shows, and can anomalously reflects much of the province’s early promote new folk-rock bands such as Cape Breton’s cultural heritage in its music. -
2000 JUNO AWARD NOMINEES ANNOUNCED Y Universal Recording Artist Naida Cole Is One of Many a Canadian Artists to Get the Nod for This Year's Awards
2000 JUNO AWARD NOMINEES ANNOUNCED Y Universal recording artist Naida Cole is one of many A Canadian artists to get the nod for this year's awards. See page 3 Volume 70 No. 14 February 7, 2000 $3.00 ($2.80 plus .20 GST) Publication Mail Registration No. 08141 NATALIE MACMASTER co-hosts this year's ECMA awards 2 -RPM - Monday February 7, 2000 worth of advertising on the site thus far. He had Broadcasters sue iCraveTV.com parent company projected, however, that the site could generate up to $13 million in revenue during its first year of A coalition of private and public broadcasters has who questioned whether the site was only available operation, 90% of that being profit. filed an application in Ontario court seeking an to Canadian users, as per US law. The US shutdown of the iCraveTV site came injunction against TVRadioNow Corp (TVR.N), the "Bill Craig has no place left to hide," says via aPittsburgh court, in response to alawsuit filed parent company of internet broadcaster Michael McCabe, president and CEO of the by a coalition of US broadcasters, studios and Canadian Association of Broadcasters. "The full iCraveTV.com. professional sports leagues. Another hearing, weight of Canadian and American law is now being The suit, which also names TVRN president scheduled for Feb. 8, could result in apermanent and principal William Craig, alleges that brought to bear against him and his renegade US injunction against the site. iCraveTV.com has infringed on broadcasters' operation." While it's rumoured that iCraveTV has copyrights. The coalition of Canadian broadcasters The iCraveTV.com site streams 17 US and considered paying royalties to broadcasters, McCabe is seeking $70 million in statutory damages to date, Canadian television signals to computer users. -
View Live Music Index
GREATER HAMILTON’S INDEPENDENT VOICE AUGUST 22 — 28, 2019 VOL. 25 NO. 33 Haze COMPLETE ENTERTAINMENT FREEFREELISTINGS EVERY THURSDAY GOOD BOYS • BORDERLINE ME • DEAD TIRED • THREAT SIGNAL • NATIVE WOMEN’S CENTRE • REAL ESTATE • ASTROLOGY 2 AUGUST 22 — 28, 2019 VIEW VIEW AUGUST 22 — 28, 2019 3 Photo by: Tony DiCasa 05 LITERARY INSIDEROBIN ZEE THIS ISSUE AUGUST 22 — 28, 2019 08 COVER WOOLY MANTIS FORUM FOOD 05 PERSPECTIVE Joe Biden 10 Dining Guide 05 LITERARY Boarderline Me MOVIES MUSIC 16 REVIEW Good Boys 08 Hamilton Music Notes 17 Movie Reviews 11 Live Music Listing ETC. MUSIC 18 General Classifieds 07 THEATRE Twelfth Night 18 REAL ESTATE 1 Billion 07 THEATRE No Change In The... 19 Free Will Astrology 19 Adult Classifieds 370 MAIN STREET WEST, HAMILTON, ONTARIO L8P 1K2 HAMILTON 905.527.3343 FAX 905.527.3721 VIEW FOR ADVERTISING INQUIRIES: 905.527.3343 X102 EDITOR IN CHIEF Ron Kilpatrick x109 [email protected] OPERATIONS DIRECTOR CLASSIFIED ADVERTISING ACCOUNTING PUBLISHER Marcus Rosen x101 Liz Kay x100 Roxanne Green x103 Sean Rosen x102 [email protected] 1.866.527.3343 [email protected] [email protected] [email protected] ADVERTISING DEPT DISTRIBUTION CONTRIBUTORS LISTINGS EDITOR RandA distribution Rob Breszny • Gregory SENIOR CORPORATE Alison Kilpatrick x100 Owner:Alissa Ann latour Cruikshank • Sara Cymbalisty • REPRESENTATIVE [email protected] Manager:Luc Hetu Maxie Dara • Albert DeSantis • Ian Wallace x107 905-531-5564 Darrin DeRoches • Daniel [email protected] HAMILTON MUSIC NOTES [email protected] Gariépy • Allison M. Jones • Tamara Kamermans • Michael Ric Taylor Klimowicz • Don McLean ADVERTISING [email protected] PRINTING • Brian Morton • Ric Taylor • REPRESENTATIVE MasterWeb Printing Michael Terry Al Corbeil x105 PRODUCTION [email protected] [email protected] PUBLICATION MAIL AGREEMENT NO. -
Music in Nova Scotia
NOVA SCOTIA MUSEUM CURATORIAL REPORT NUMBER 84 • • A FAMILY of25 MUSEUMS E<lucnlion and Culture r r CURATORIAL R E P 0 R T N U M B E R 8 4 r Music in Nova Scotia: r The Oral Tradition r Researched and Written by Matthew D McGuire r Edited by Jennifer Lambert r r r r r r r r r r ©Crown Copyright 1998 Province of Nova Scotia r Museum Services Division Nova Scotia Museum r Nova Scotia Department of Education and Culture r / , 1 l 1 l C U R A T 0 R .1 A L REPORTS l 1 The Curatorial Reports of the Nova Scotia Museum make technical information on museum collections, programs, procedures and research accessible to interested readers. , 1 . ,I l, l, ,I 1 1 1 1 r r TABLE OF CONTENTS r r Abstract .................................................................................................................... i Table of Contents .....................................................................................................ii r Introduction ...............................................................................................................1 r English-Language Song Tradition ............................................................................2 Acadian Song and Music in Nova Scotia ................................................................ 17 r The German Tradition in Nova Scotia .....................................................................26 r The Gaelic Tradition ................................................................................................28 r The Irish in Nova Scotia and Their Music ................................................................67 -
Experiencing Music 2200 – Curriculum Guide
Experiencing Music 2200 Curriculum Guide 2015 MISSION STATEMENT Department of Education and Early Childhood Development Mission Statement By March 31, 2017, the Department of Education and Early Childhood Development will have improved provincial early childhood learning and the K-12 education system to further opportunities for the people of Newfoundland and Labrador. EXPERIENCING MUSIC 2200 CURRICULUM GUIDE 2015 I II EXPERIENCING MUSIC 2200 CURRICULUM GUIDE 2015 TABLE OF CONTENTS Table of Contents Acknowledgements ...................................................................................... v Section One: Newfoundland and Labrador Curriculum Outcomes Based Education........................................................................................1 Context for Teaching and Learning .............................................................................4 Inclusive Education..................................................................................................4 Literacy ..................................................................................................................10 Learning Skills for Generation Next .......................................................................12 Assessment and Evaluation ......................................................................................15 Section Two: Curriculum Design Rationale ...................................................................................................................19 Curriculum Outcomes Framework ............................................................................19 -
Newfoundland Identity As Revealed Through Newfoundland Song
Proud To Be An Islander: Newfoundland Identity as Revealed through Newfoundland Song Terry McDonald, University of Southampton I’m a Newfoundlander born and bred, and I’ll be one’ til I die I’m proud to be an islander and here’s the reason why I’m free as the birds, and the waves that wash the land There’s no place that I’d rather be than here in Newfoundland. Introduction been born there.3 There has been little inward migration since the first half of the nineteenth The Province of Newfoundland and Labrador (to give century. This homogeneity hides just one major it the title it adopted in 2003) was a late entrant to the division within the population, the two places from Canadian confederation, finally, and with a notable whence the original settlers came. One is Ireland, but lack of enthusiasm, joining its mainland neighbour in contrary to current mythology, that island was not the 1949, 81 years after most other British North largest provider of emigrants to Newfoundland. The American colonies began the process. From its majority of its population is of West of England origins as a ‘fishing station’ for west-country origin, particularly the counties of Dorset and Devon. Englishmen to full dominion status in the early It is difficult to be precise but it appears that the twentieth century it bred a people for whom proportions are 60:40 English to Irish,4 and, in resilience in the face of hardship was the norm. A pointing this out, it is not simply a pedantic point that hundred miles from mainland Canada, its unpredict- is being made.