DOCSLIB.ORG

Area Irish Music Events

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MOHAWK VALLEY IRISH CULTURAL Volume 14, Issue 7 EVENTS NEWSLETTER July 2017 Eileen Ivers, Enter the Haggis Headline 2017 GAIF Headlining this year’s Great American Irish Festival (Jul 28-30) will be two of the Celtic music world’s most sought-after acts: the “Jimi Hendrix of the Violin,” Eileen Ivers, and Toronto-based Celtic roots rockers, Enter the Haggis. Fiery fiddler Eileen Ivers has established herself as the pre-eminent exponent of the Irish fiddle in the world today. Grammy awarded, Emmy nominated, London Symphony Orchestra, Boston Pops, guest starred with over 40 orchestras, original Musical Star of Riverdance, Nine Time All-Ireland Fiddle Champion, Sting, Hall and Oates, The Chieftains, ‘Fiddlers 3’ with Nadja Salerno-Sonnenberg and Regina Carter, Patti Smith, Al Di Meola, Steve Gadd, founding member of Cherish the Ladies, movie soundtracks including Gangs of New York, performed for Presidents and Royalty worldwide…this is a short list of accomplishments, headliners, tours, and affiliations. Making a welcome return to the stage she last commanded in 2015, Eileen Ivers will have her adoring fans on their feet from the first note. Back again at their home away from home for the 11th time, Enter the Haggis is poised to rip it up under the big tent with all the familiar catchy songs that have made fans of Central New Yorkers and Haggisheads alike for over 20 years. Besides the ETH classics, they will also be performing songs from their latest studio recording, “Broken Arms,” released to great acclaim in 2016. Other returning upper-tier acts this year include the high-energy Barleyjuice from Philadelphia, Graham Wright and the Glengarry Bhoys, and Ottawa Valley’s favorite sons…uh, daughters, Searson, along with long-time GAIF veterans the Blarney Rebel Band and Hair of the Dog (each making a record 13th appearance!), and the always entertaining Seamus Kennedy. While there’s a certain comfort to bringing back familiar bands as a way of appeasing the wishes of both attendees and performers, it has always been a hallmark of the Great American Irish Festival to introduce new acts to the festival; names that probably are not on the lips or playlists of even the most knowledgeable Celtic music fans. Names like… Enter the Haggis and Rathkeltair (2005)… the Elders (2007)… Leahy (2010)… Slide and Goitse (2011)… Girsa and Lilt (2013)… Runa and Moxie Strings (2014)… Dallahan (2016). Anyway, you get the idea: If they’re new, they’re at GAIF, and if they’re at GAIF, they’re going to be good. This year’s lineup includes five exciting acts that are either new to the world or have never appeared at GAIF… and you should definitely check them out. FullSet has already earned multiple “best band” and “band to watch” awards; the Colin Farrell Band features former Elders’ fiddler Colin Farrell, stepping out front to head up an all-star trad outfit; Next Generation Leahy is Doug Leahy (of the acclaimed Leahy family) and his family, carrying on the storied Leahy musical legacy; The Screaming Orphans features the skilled musicianship and dulcet harmonies of the four Diver sisters from Donegal, and American Rogues bring a unique mix of Celtic rock, rock roots, patriotic, military and classical music to the stage. The Herkimer County Fairgrounds is located just off Route 5s in Frankfort NY, just minutes from the New York State Thruway. For directions, tickets or more information, visit the festival web site. And now it’s time to meet the bands: Mohawk Valley Irish Cultural Events - 1 Eileen Ivers Band Fiddler Eileen Ivers has established herself as the pre-eminent exponent of the Irish fiddle in the world today. Along with her world-class band, Eileen tours throughout the year, in performing art centers, symphony halls and festivals world-wide. She’s been called “a sensation” by Billboard magazine, “the Jimi Hendrix of the violin” and “one of the great innovators and pioneers in the Celtic and World music genres” … and she’s back to headline the Great American Irish Festival for the fifth time. Enter The Haggis Toronto’s Enter the Haggis has led the charge among Celtic folk/roots/rock bands, delighting fans with their memorable performances, inspired songwriting, musical proficiency and high quality recordings, including 4 EPs, 8 studio albums, five live and one compilation CDs, as well as two solo side projects. With their signature Celtic rock sound and instrumentation of bagpipes blazing over a powerhouse rhythm section, they’ve long been a fan favorite in Central New York and throughout the continent. FullSet FullSet is six young unbelievably talented singers and musicians from Ireland, creating a stunning and unique sound that is full of energy and innovation, while all the time remaining true to their traditional roots. With the tremendous success of their debut album “Notes at Liberty” and its follow-up, “Notes in Full,” FullSet was honored to receive “Best New Group Award” (Irish American News), “Best New Comer” (Live Ireland Awards) and “Top Traditional Group” (Irish Music Association). Glengarry Bhoys Described as bold, unorthodox, vibrant and evocative, the Glengarry Bhoys' hybrid of Canadian Highland Scots and French Canadian musical idioms has evolved into a sound that is weighty, authoritative and extremely entertaining. Their blend of traditional music, fused with the multicultural sounds of modern and contemporary Celtic music, has brought them international acclaim. Fiery guitar and bass, intense percussion and fiddle, teamed with pipes and vocals, make for a memorable performance. The Colin Farrell Band Colin Farrell is no stranger to the Great American Irish Festival, having first appeared with the Elders a few years ago. Having since gone out on his own and with the band Lúnasa, Colin continues his meteoric rise on the Celtic trad scene. His 2010 solo debut album “On The Move” was named one of the year’s 10 best albums by The Irish Echo, and his second album “Make A Note,” released in 2015, was awarded Instrumental Album of the year by LiveIreland. In the Colin Farrell Band, he is joined by Alan Murray (guitar/bouzouki/vocals) and Dan Lowery (flute/guitar /vocals). Through their skill and virtuosity, they have established themselves as top entertainers in Irish traditional music with a vibrant and exciting show; delivering their tunes and songs with sublime musicianship. Mohawk Valley Irish Cultural Events - 2 Next Generation Leahy Next Generation Leahy features Doug Leahy from Cape Breton’s virtuosic musical family, Leahy, along with his wife Jennifer and their six children. Continuing to carry on three generations of Leahy musicianship, their live performances are filled with the high-energy, infectious Celtic-based music that audiences world-wide have long associated with the Leahy heritage. Having shared stages across North America with the legendary band “Leahy,” their performances leave audiences in awe. Screaming Orphans The Screaming Orphans are four fun sisters who hail from Ireland’s County Donegal; an area with a rich and vibrant musical history, which also produced the likes of the bands Clannad and Altan and solo artist Enya. The band — made up of Joan Diver on drums and vocals, Angela Diver on bass and fiddle, Gráinne Diver on acoustic guitar and Marie-Thérese Diver on keys and accordion – has been performing together since the early 1990’s. Their sound has been compared to the Bangles and Cranberries, with musical influences ranging from the Beatles, R.E.M. and Abba to traditional Irish music. While they are veterans of many festivals world- wide, this marks their debut appearance at the Great American Irish Festival. Searson Building on their Ottawa Valley, Ontario roots, sisters Erin and Colleen Searson have developed their own original style of music, seamlessly blending high energy fiddling, passionate vocals and step dancing. Giving a more modern treatment to the traditional music of their upbringing, the sisters perform on a variety of instruments throughout their live show, which includes Colleen on fiddle, vocals and Ottawa Valley Step Dancing; Erin on piano, vocals, step dancing and tenor guitar; David MacDougall on drums and percussion, and Fraser Gauthier on bass/guitar. Barleyjuice Some bands take a little while to capture a festival crowd. Others seem to connect immediately. Such is the case with Barleyjuice and the Great American Irish Festival, where the Philadelphia-based Celtic rockers became instant favorites a few years back. With five studio albums and a double CD collection to date, these five kilted yanks are currently one of the most beloved Celtic rock bands in the USA. Kyf Brewer’s signature whiskey-soaked vocals perfectly trademark the group’s quick-witted and catchy originals, and partner Keith “Swanny” Swanson adds additional lead vocals, guitar, mandolin, whistle, bouzouki, and bagpipes. Rounding out the lineup are fiddler Alice O’Quirke, drummer John Tracey, and Eric Worthington on bass. Go on… try a little Barleyjuice…it’s the best time you can have at a concert without removing your kilt. American Rogues Originally formed several years ago as a more traditional bagpipe band, The American Rogues have morphed into their own band, with their own style, and even their own genre: “CeltRockFolkWorldClassicalMusicForTheMasses.” Headlining shows across Asia, Europe, North America and Canada, American Rogues are taking on the world of Celtic rock, rock roots, patriotic, military and classical music. Known as “The Top Celtic Band Supporting Military Personnel & Wounded Warriors” (Ceili Magazine), they have also moved the Irish Echo to say of them “The American Rogues know how to command a massive stage and animate a crowd with the sounds of fiddles, pipes, and an impressive miscellany of instruments and styles.” Mohawk Valley Irish Cultural Events - 3 Hair of the Dog The Great American Irish Festival is happy to be bringing back GAIF veterans and fan favorites, Hair of the Dog.
Recommended publications
  • Ceili Rain Erasers on Pencils

    Ceili Rain Erasers on Pencils

    Ceili Rain Biography With the exception of two miserable days as an electrician's assistant, Bob Halligan, Jr. has never held a "day job" in his life. The lead singer, songwriter, guitarist and creative force behind the Celtic-flavored rock band Ceili (KAY-lee) Rain has earned his living—and reputation—as a working musician and songwriter for most of his life. Halligan has parlayed that well-deserved acclaim as a writer into a recording career that has seen the release of three highly praised albums for Ceili Rain, the most recent being the Cross Driven (Provident distribution) release, Erasers On Pencils. Erasers On Pencils is the latest celebrated chapter in a career that has found the Nashville-based band continuing to assert itself on both national and international stages. The album once again finds Halligan utilizing his gift for taking universal themes and distilling their essence into a lyrical approach that is capable of touching an audience on a very personal level. The opener, “Jigorous,” for example, tells the story of an aging woman reveling in life again at the sound of a familiar melody; “The Fighting Chair” uses a fishing analogy to encourage the listener to live life to its fullest; “God Done Good” finds Halligan overcome with thanksgiving for his wife and adopted son. “I have no problem laying bare such personal stories,” Halligan asserts. “What else have I got as a songwriter to offer but myself? I find that the things that really get to me are the things that get to others.” Indeed, Halligan has a knack for taking the big ideas and reducing them to their deepest, most emotional roots.
  • View Or Download Full Colour Catalogue May 2021

    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
  • Northside Rock and Roll Carnival

    Northside Rock and Roll Carnival

    The Northside Rock and Roll Carnival By: Daniel Walton and Ellen Banks Sponsored by the Northside Community Fund It’s a Couple Days Before the 4th Of July... Where in Cincinnati can you go to enjoy live music in the company of thousands of neigh- bors, throw back craft beers, and partake of great food under the summer sun? This funky good time can only be had at Northside’s Rock and Roll Carni- val. The carnival wrangles the best of offbeat local and national acts to help the neighborhood prepare for its legendary 4th of July Parade. A LONGSTANDING HISTORY Since the 1970s, following Northside’s 4th of July Parade, the Northside Business Association has adler is Sch Chr Celebrating Independence Drawn to the beat of its vibrant underground music scene, Schadler moved to Northside in 2000. In 2005, Schadler and a makeshift band of friends started playing obnoxiously loud music during the 4th of July Parade as a practical joke to drown out hosted a family-friendly festival for the community. the noise from political talking heads. Much to his Within the past decade, however, this event has meta- surprise, the Northside Business Association react- morphosed into an edgier version of itself: the Rock ed with enthusiasm instead of annoyance, enlisting and Roll Carnival. This new incarnation of the festival Schadler to schedule bands for entertainment in near- is the brainchild of Chris Schadler, an experienced by Jacob Hoffner Park after the parade had ended. Cincinnati-area music promoter and entrepreneur. This embryonic Rock and Roll Carnival, al- though promising, left much to be desired.
  • Bowing Styles in Irish Fiddle Playing Vol 3

    Bowing Styles in Irish Fiddle Playing Vol 3

    Bowing Styles in Irish Fiddle Playing Vol 3 David H. Lyth July 2016 2 This is the third volume of a series of transcriptions of Irish traditional fiddle playing. The others are `Bowing Styles in Irish Fiddle Playing Vol I' and `Bowing Styles in Irish Fiddle Playing Vol 2'. Volume 1 contains reels and hornpipes recorded by Michael Coleman, James Morrison and Paddy Killoran in the 1920's and 30's. Volume 2 contains several types of tune, recorded by players from Clare, Limerick and Kerry in the 1950's and 60's. Volumes I and II were both published by Comhaltas Ceoltoiri Eirann. This third volume returns to the players in Volume 1, with more tune types. In all three volumes, the transcriptions give the bowing used by the per- former. I have determined the bowing by slowing down the recording to the point where the gaps caused by the changes in bow direction can be clearly heard. On the few occasions when a gap separates two passages with the bow in the same direction, I have usually been able to find that out by demanding consistency; if a passage is repeated with the same gaps between notes, I assume that the directions of the bow are also repeated. That approach gives a reliable result for the tunes in these volumes. (For some other tunes it doesn't, and I have not included them.) The ornaments are also given, using the standard notation which is explained in Volumes 1 and 2. The tunes come with metronome settings, corresponding to the speed of the performance that I have.
  • Gaelic Scotland in the Colonial Imagination

    Gaelic Scotland in the Colonial Imagination

    Gaelic Scotland in the Colonial Imagination Gaelic Scotland in the Colonial Imagination Anglophone Writing from 1600 to 1900 Silke Stroh northwestern university press evanston, illinois Northwestern University Press www .nupress.northwestern .edu Copyright © 2017 by Northwestern University Press. Published 2017. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication data are available from the Library of Congress. Except where otherwise noted, this book is licensed under a Creative Commons At- tribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Stroh, Silke. Gaelic Scotland in the Colonial Imagination: Anglophone Writing from 1600 to 1900. Evanston, Ill.: Northwestern University Press, 2017. For permissions beyond the scope of this license, visit www.nupress.northwestern.edu An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org Contents Acknowledgments vii Introduction 3 Chapter 1 The Modern Nation- State and Its Others: Civilizing Missions at Home and Abroad, ca. 1600 to 1800 33 Chapter 2 Anglophone Literature of Civilization and the Hybridized Gaelic Subject: Martin Martin’s Travel Writings 77 Chapter 3 The Reemergence of the Primitive Other? Noble Savagery and the Romantic Age 113 Chapter 4 From Flirtations with Romantic Otherness to a More Integrated National Synthesis: “Gentleman Savages” in Walter Scott’s Novel Waverley 141 Chapter 5 Of Celts and Teutons: Racial Biology and Anti- Gaelic Discourse, ca.
  • Irish Bands of the 60S & 70S | Sample Answer

    Irish Bands of the 60S & 70S | Sample Answer

    Irish Bands of the 60s & 70s | Sample answer Ceoltóiri Cualann was an Irish group formed by Sean O’Riada in 1961. O’Riada had the idea of forming Ceoltóiri Cualann following the success of a group he had put together to perform music for the play “The Song of the Anvil” in 1960. Ceoltóiri Cualann would be a group to play Irish traditional songs with accompaniment and traditional dance tunes and slow airs. All folk music recorded before that time had been highly orchestrated and done in a classical way. Another aim of O’Riada’s was to revitalise the work of harpist and composer Turlough O’Carolan. Ceoltóiri Cualann was launched during a festival in Dublin in 1960 at an event called Recaireacht an Riadaigh and was an immediate success in Dublin. The group mainly played the music of O’Carolan, sean nós style songs and Irish traditional tunes, and O’Riada introduced the bodhrán as a percussion instrument. Ceoltóiri Cualann had ceased playing with any regularity by 1969 but reunited to record “O’Riada” and “O’Riada Sa Gaiety” that year. “O’Riada Sa Gaiety” was not released until after O’Riada’s death in 1971. The members of Ceoltóiri Cualann, some of whom went on to form “The Chieftains” in 1963 were O’Riada (harpsichord and bodhrán), Martin Fay, John Kelly (both fiddle), Paddy Moloney (uilleann pipes), Michael Turbidy (flute), Sonny Brogan, Éamon de Buitléir (both accordian), Ronnie Mc Shane (bones), Peadar Mercer (bodhrán), Seán Ó Sé (tenor voice) and Darach Ó Cathain (sean nós singer. Some examples of their tunes are “O’ Carolan’s Concerto” and “Planxty Irwin”.
  • Karaoke Songs by Title

    Karaoke Songs by Title

    Songs by Title Title Artist Title Artist #9 Dream Lennon, John 1985 Bowling For Soup (Day Oh) The Banana Belefonte, Harry 1994 Aldean, Jason Boat Song 1999 Prince (I Would Do) Anything Meat Loaf 19th Nervous Rolling Stones, The For Love Breakdown (Kissed You) Gloriana 2 Become 1 Jewel Goodnight 2 Become 1 Spice Girls (Meet) The Flintstones B52's, The 2 Become 1 Spice Girls, The (Reach Up For The) Duran Duran 2 Faced Louise Sunrise 2 For The Show Trooper (Sitting On The) Dock Redding, Otis 2 Hearts Minogue, Kylie Of The Bay 2 In The Morning New Kids On The (There's Gotta Be) Orrico, Stacie Block More To Life 2 Step Dj Unk (Your Love Has Lifted Shelton, Ricky Van Me) Higher And 20 Good Reasons Thirsty Merc Higher 2001 Space Odyssey Presley, Elvis 03 Bonnie & Clyde Jay-Z & Beyonce 21 Questions 50 Cent & Nate Dogg 03 Bonnie And Clyde Jay-Z & Beyonce 24 Jem (M-F Mix) 24 7 Edmonds, Kevon 1 Thing Amerie 24 Hours At A Time Tucker, Marshall, 1, 2, 3, 4 (I Love You) Plain White T's Band 1,000 Faces Montana, Randy 24's Richgirl & Bun B 10,000 Promises Backstreet Boys 25 Miles Starr, Edwin 100 Years Five For Fighting 25 Or 6 To 4 Chicago 100% Pure Love Crystal Waters 26 Cents Wilkinsons, The 10th Ave Freeze Out Springsteen, Bruce 26 Miles Four Preps, The 123 Estefan, Gloria 3 Spears, Britney 1-2-3 Berry, Len 3 Dressed Up As A 9 Trooper 1-2-3 Estefan, Gloria 3 Libras Perfect Circle, A 1234 Feist 300 Am Matchbox 20 1251 Strokes, The 37 Stitches Drowning Pool 13 Is Uninvited Morissette, Alanis 4 Minutes Avant 15 Minutes Atkins, Rodney 4 Minutes Madonna & Justin 15 Minutes Of Shame Cook, Kristy Lee Timberlake 16 @ War Karina 4 Minutes Madonna & Justin Timberlake & 16th Avenue Dalton, Lacy J.
  • Scottish and Irish Elements of Appalachian Fiddle Music

    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 _ -- -"-".,---.
  • Mohawk Valley Irish Cultural

    Mohawk Valley Irish Cultural

    MOHAWK VALLEY IRISH CULTURAL Volume 13, Issue 11 EVENTS NEWSLETTER Nov 2016 Enter the Haggis Comes Back Home November 5th is no doubt going to be a long day for Toronto Celtic Rockers Enter the Haggis. Beginning at 10 AM at the F.X. Matt Brewery’s 1888 Tavern, they’ll be hosting a listening party for their latest release, “Broken Arms,” and then at 7 PM they’ll be giving a concert in MVCC’s Schafer Theater. Since 1995, Enter the Haggis has led the charge among Celtic Folk Rock bands, with their most recent album debuting at No. 9 on the U.S. national Billboard Heatseekers charts. And while their ambitious touring schedule has earned them fans around the globe, they seem to have a special affinity for the folks in this area. Their first trip here was in April 2005 to perform at Utica’s legendary club, the Devereux, and they’ve returned at least once a year ever since then. Besides their several appearances as headliners at the Great American Irish Festival and playing at every “festival eve” Saranac Thursday since 2009, they have also included Utica as one of only two cities to hold listening parties for their last two CD releases (the other being a small Irish town called Boston). The band’s new album, “Broken Arms” is their third EP (fourth if you include the one the released as Jubilee Riots) to go along with their eight studio, five live and one compilation CDs (and if that wasn’t enough, guitarist/vocalist Trevor Lewington just released a new solo album, “Lion of Grace,” while House of Hamill -- the duo made up of bandmate Brian Buchanan and his fiancée, Burning Bridget Cleary’s Rose Baldino -- has just released an album called “Wide Awake”).
  • Blauen Folker

    Blauen Folker

    Im Kalender vermerkt? Ausgabe 5/6.2020 ISSN 1435-9634 Unsere blauen Termin- und Postvertriebsstück: Serviceseiten K45876 Webseiten für Termine 04 Folker Corona Angebote 16 Wundertütenschätze CD‘S 18 Minnesang zur Popakademie 19 d Etcetera I 21 Wir suchten Helfer 23 Womex goes digital 2020 24 (se) Ausgerechnet die Gema 25 Die blauen Sicherung des Kulturlebens 26 Wirrwarr um Soforthilfen 27 Ja, ich bin systemrelevant 29 Gaeltacht Irland Reisen 30 Folker- 23 Jahre Folker 31 Irish Folk Festival 2021 32 Redaktionsschluss für die Serviceseiten der Ausgabe 1/21 ist spät. am 10.12.2020. „Termin“- und Oder schon vorher, wenn wir euch online informieren sollen/wollen. Serviceseiten Gerne auch online: www.termine-folk-lied-weltmusik.de Moers, Mitte September 2020 und zu denen die (quasi öffentlich-rechtliche) Bundessteuerberaterkammer fast jede Woche ein Liebe Leserinnen und Leser, Update von Fragen und Antworten veröffentlichen musste, weil die Damen und Herren BeamtenInnen in Was sind das für Zeiten! den vielen beteiligten Ministerien (von den Politikern Kann es sein, dass sie so oder ähnlich bleiben – für wollen wir nicht reden) fast keine Vorschrift länger? auslegungseindeutig oder rechtssicher hingekriegt Corona scheint unser Leben zu beherrschen, das der haben? Das muss man sich mal vorstellen: Da Medien ohnehin. Deshalb halten „Frust, Wut und wurden Anträge (seit 7. Juli) abgegeben – und die Fassungslosigkeit“ an (Siehe letzte „Blaue Seiten“, spezifizierten Auslegungskriterien wurden erst Heft 3+4/2020, und die verkümmerten Terminseiten hinterher veröffentlicht, Stück für Stück, auf zuletzt in der Heftmitte). weiteren 50 Seiten, gut 150 Einzelpunkte. Deshalb „Für viele sogenannte Soloselbstständigen und gibt es einen Beitrag (in den „Blauen Seiten“) mit Freiberufler bleibt es ein Hohn, wenn Olaf Scholz dem Titel „Wirrwarr bei den Hilfen“.
  • “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

    “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.
  • 2016-Program-Booklet-Final.Pdf

    2016-Program-Booklet-Final.Pdf

    CONTENTS Page Background on the Workshop 4 “Antique (SSP) Archæology” - Ralph R. Loomis Tips for a New Scottish Smallpipe Owner 8 Chris Pinchbeck The William Davidson (Glenesk) Pipes 12 Ian Kinnear Meet Your Maker - Kim Bull 15 Richard Shuttleworth Goodacre’s Razor A CUT BELOW THE OTHERS. 17 Julian Goodacre How dos Wood choice afect the Tone of Bagpipes? 18 And a number of refections on Pipe Making and Tone - Nate Banton A New Perspective on Old Technique, Scales and Embellishments 21 Barry Shears Biographies 21 Dan Foster 22 Barry Shears 21 Laura MacKenzie 23 Brian McNamara 22 Chris Gray 23 Benedict Kœhler 22 Owen Marshall 23 Bill Wakefeld 22 Iain MacInnes 23 Will Woodson Music 24 The Wisdom House Gathering (music) - Bob Cameron 25 The Lichtfeld Hills (music) - Bob Cameron 26 Didn’t We Meet in Lichtfeld? (music) - Bob Cameron Dear Piping Friends, Welcome to the 2016 Pipers’ Gathering. We’re thrilled to offer you a stellar line- up of instructors - we work hard to bring you a consistently interesting mix of folks from North American and across the pond. You’ll hear a lot at this year’s Gathering about sustainability, applied in many different ways. Attending events like ours and playing in your communities sustains a small piping tradition: • We welcome attendees of all ages who are new to bellows-blown piping. Hopefully this event will inspire you to stick with them, and do your part to sustain the traditional music community in your area in your own unique way! • We welcome those who are taking a risk and trying something new at any age! Whether you already play one type of “alt” pipes, and are giving another type a try, or are push- ing yourself a little outside your comfort zone with new tunes and techniques, you are sustaining the tradition as well.