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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. -
Folk Song in Cumbria: a Distinctive Regional
FOLK SONG IN CUMBRIA: A DISTINCTIVE REGIONAL REPERTOIRE? A dissertation submitted in partial fulfilment of the degree of Doctor of Philosophy by Susan Margaret Allan, MA (Lancaster), BEd (London) University of Lancaster, November 2016 ABSTRACT One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge for one region through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one. -
The GIA Historical Music Series
GIA Publications, Inc. 2018 2018 Music Education Catalog At GIA, we aspire to create innovative resources that communicate the joys of music making and music learning—that delve deeper into what it means to be musical. By working with leading authors who represent the very best the profession has to offer for all levels from preschool through college and beyond, GIA seeks to help music teachers communicate the joy, art, skill, complexity, and knowledge of musicianship. This year we again offer a wide range of new resources for early childhood through college. Scott Edgar explores Music Education and Social Emotional Learning (page 7); the legendary Teaching Music through Performance in Band series moves to Volume 11 (page 8); Scott Rush publishes Habits of a Significant Band Director (page 9) and together with Christopher Selby releases Habits of a Successful Middle Level Musician (pages 10-11). And there’s finally a Habits book for choir directors (page 12). James Jordan gives us four substantial new publications (pages 13-16). There’s also an Ultimate Guide to Creating a Quality Music Assessment Program (page 19). For general music teachers, there is a beautiful collection of folk songs from Bali (page 21), a best- selling book on combining John Feierabend’s First Steps in Music methodology with Orff Schulwerk (page 23), plus the new folk song picture book, Kitty Alone (page 24), just to start. All told, this catalog has 400 pages of resources to explore and enjoy! We’re happy to send single copies of the resources in this catalog on an “on approval” basis with full return privileges for 30 days. -
DRUG ENFORCEMENT ADMINISTRATION HISTORICAL INTERVIEWS JAMES Mcgivency, TAPE NO. 162 1 JM = Jim Mcgiveney, Retired Chief, DEA
DRUG ENFORCEMENT ADMINISTRATION HISTORICAL INTERVIEWS JAMES McGIVENCY, TAPE NO. 162 JM = Jim McGiveney, retired chief, DEA Public Affairs MS = Sean Fearns, DEA Museum Director 04:07:21;21 JM: Thank you Sean, for the introduction. I don't know if it's good to be introduced as "living history" or not, though. It's... 04:07:29;18 MS: (Unint.) 04:07:30;29 JM: That's true, that's true. If I was dead... Well, tell me after the presentation - you might think that is history. The subject this morning is illegal drugs in America and what we're going to try to do is cover in a very, very short period of time - like an hour or less - about 400 years of history. 04:07:45;29 So we're going to move pretty quickly. If you do have questions, raise your hand, jump right in. Don't worry about if you have comments - raise your hand, jump right in. We'll try to keep the flow going. 04:07:59;04 Some of the things that you're going to see here this 1 DRUG ENFORCEMENT ADMINISTRATION HISTORICAL INTERVIEWS JAMES McGIVENCY, TAPE NO. 162 morning, you've already seen - if you've been in the museum - some things you may not have. And we're probably going to try to discuss a little bit that is not covered actually in a museum. It's kind of interesting to see where we came from because that tells us where we're going. And basically the drug problem in this country, quite honestly, is a constant re-run. -
Jump Right in English
Jump Right In Choreographed by Magali CHABRET ( France ) / August, 2012 - www.galichabret.com Description : Improver / Intermediate Line Dance - 32 counts - 4 wall - 1 tag for 2 counts Music : Jump Right In , by ZAC BROWN BAND [CD: Uncaged, July, 2012] 104 BPM - 27 seconds intro 1-8 RIGHT & LEFT SIDE MAMBO, PUSH TURN LEFT, CROSS SHUFFLE 1&2 Rock Right to side – recover onto Left – step Right next to left 3&4 Rock Left to side – recover onto Right – step Left next to right 5-6 weight on ball of Left …1/4 turn Left and point Right to right side – 1/4 turn Left and point Right to right side (6:00) 7&8 Cross Right over left – step Left to left side – cross Right over left (Cross Shuffle) 9-16 ROCK ¼ TURN RIGHT, FULL TURN RIGHT, CROSS SAMBA, SYNCOPATED WEAVE 1-2 Rock Left to side – 1/4 turn Right recover onto Right (9:00) 3-4 1/2 turn Right stepping Left back – 1/2 turn Right stepping Right forward 5&6 Cross Left over right – rock Right to side – recover onto Left 7&8 Cross Right over left – step Left to left side – cross Right behind left 17-24 BACK ROCK, RECOVER, TRIPLE ½ TURN, BACK ROCK, RECOVER, WALK, WALK 1-2 Rock back on Left – recover onto Right forward 3&4 Triple Step 1/2 turn Right ( L, R, L ) 3:00 5-6 Rock back on Right – recover onto Left forward 7-8 Step Right forward – step Left forward 25-32 RIGHT LOCK STEP, LEFT LOCK STEP, POINT, SWITCH, FLICK, POINT ½ TURN 1&2 Step Right diagonally Right forward – lock Left behind right – step Right diagonally Right forward 3&4 Step Left diagonally Left forward – lock Right behind left – step Left diagonally Left forward 5&6 Point Right forward – step Right next to left (Switch) – flick Left heel backward 7-8 Point Left back – 1/2 turn Left, weight on Left foot (9:00) TAG : the 6th wall starts facing to 9.00. -
The Power of Story Male Speaker
The Power of Story Male Speaker: Good morning, everyone. Welcome to day three of the Public Health Workshop, You all know from the credits in many of the favorite TV shows [out] there, and you saw how beautifully crafted are those stories in terms of conveying health promotion messages in a variety of fields. And they show many of the examples in our own field here. And we're going to have this interactive session now with them on more detail. Sandra's going to explain to you in a minute how the session is going to evolve. Sandra, next to me here -- she's the director of Hollywood Health and Society, a program of the University of Southern California Annenberg Norman Lear Center. She's known for her award-winning work on entertainment health and social change in the US and also internationally. Sandra provides resources to leading scriptwriters and producers with the goal of improving the accuracy of health and climate change-related storylines on top television programs and films. This has resulted in more than 565 aired storylines over the span of three years. She was named one of the 100 most influential Hispanics in America by Poder Magazine and has received numerous other honors, including the USAID MAQ Outstanding Achievement Award. Her Vasectomy Campaign in Brazil -- mind you, she's half Brazilian -- won seven international advertising awards including a Bronze Lion at Cannes -- the Cannes Festival, mind you -- and the Gold Medal at the London International Advertising Awards. She's a former associate faculty member of Johns Hopkins University, the School of Public Health, in fact. -
A City out of Old Songs
A City Out of Old Songs: The influence of ballads, hymns and children’s songs on an Irish writer and broadcaster Catherine Ann Cullen Context Statement for PhD by Public Works Middlesex University Director of Studies: Dr Maggie Butt Co-Supervisor: Dr Lorna Gibb Contents: Public Works Presented as Part 1 of this PhD ............................................................ iii List of Illustrations ....................................................................................................... iv Acknowledgements ...................................................................................................... v Preface: Come, Gather Round ..................................................................................... 1 Chapter 1: The Singing Without Ceasing .................................................................... 8 Chapter 2: A Tune That Could Calm Any Storm ......................................................... 23 Chapter 3: Something Rich and Strange .................................................................... 47 Chapter 4: We Weave a Song Beneath Our Skins ...................................................... 66 Chapter 5: To Hear the Nightingale Sing ................................................................... 98 Conclusion: All Past Reflections Shimmer into One ............................................... 108 Works Cited .............................................................................................................. 112 Appendix 1: Index of Ballads and Songs used -
Summer Camp Song Book
Summer Camp Song Book 05-209-03/2017 TABLE OF CONTENTS Numbers 3 Short Neck Buzzards ..................................................................... 1 18 Wheels .............................................................................................. 2 A A Ram Sam Sam .................................................................................. 2 Ah Ta Ka Ta Nu Va .............................................................................. 3 Alive, Alert, Awake .............................................................................. 3 All You Et-A ........................................................................................... 3 Alligator is My Friend ......................................................................... 4 Aloutte ................................................................................................... 5 Aouettesky ........................................................................................... 5 Animal Fair ........................................................................................... 6 Annabelle ............................................................................................. 6 Ants Go Marching .............................................................................. 6 Around the World ............................................................................... 7 Auntie Monica ..................................................................................... 8 Austrian Went Yodeling ................................................................. -
The English Occupational Song
UNIVERSITY OF UMEÅ DISSERTATION ISSN 0345-0155-ISBN 91-7174-649-8 From the Department of English, Faculty of Humanities, University of Umeå, Sweden. THE ENGLISH OCCUPATIONAL SONG AN ACADEMIC DISSERTATION which will, on the proper authority of the Chancellor's Office of Umeå University for passing the doctoral examination, be publicly defended in Hörsal E, Humanisthuset, on Saturday, May 23, at 10 a.m. Gerald Porter University of Umeå Umeå 1992 ABSTRACT THE ENGLISH OCCUPATIONAL SONG. Gerald Porter, FL, Department of English, University of Umeå, S 901 87, Sweden. This is the first full-length study in English of occupational songs. They occupy the space between rhythmic work songs and labour songs in that the occupation signifies. Occupation is a key territorial site. If the métier of the protagonist is mentioned in a ballad, it cannot be regarded as merely a piece of illustrative detail. On the contrary, it initiates a powerful series of connotations that control the narrative, while the song's specific features are drawn directly from the milieu of the performer. At the same time, occupational songs have to exist in a dialectical relationship with their milieu. On the one hand, they aspire to express the developing concerns of working people in a way that is simultaneously representational and metaphoric, and in this respect they display relative autonomy. On the other, they are subject to the mediation of the dominant or hegemonic culture for their dissemination. The discussion is song-based, concentrating on the occupation group rather than, as in several studies of recent years, the repertoire of a singer or the dynamics of a particular performance. -
Singing in the Beginning Band Classroom
James Madison University JMU Scholarly Commons Masters Theses, 2020-current The Graduate School 8-2020 Singing in the beginning band classroom Sarah Jane Moyer James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/masters202029 Part of the Music Education Commons, Music Pedagogy Commons, and the Music Practice Commons Recommended Citation Moyer, Sarah Jane, "Singing in the beginning band classroom" (2020). Masters Theses, 2020-current. 15. https://commons.lib.jmu.edu/masters202029/15 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses, 2020-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Singing in the Beginning Band Classroom Sarah J. Moyer A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Music School of Music August 2020 FACULTY COMMITTEE: Committee Chair: Dr. W. Bryce Hayes Committee Members/Readers: Dr. Jesse Rathgeber Dr. David Stringham ACKNOWLEDGEMENTS I would first like to thank my 2017-2018 band students for being the most amazing participants. You all are the foundation of this research and I couldn’t have done it without you. You inspired me every day I worked with you and you encourage me to better myself as an educator. To my advisor, Dr. W. Bryce Hayes, thank you for your patience and encouragement throughout the development of this study. I am extremely grateful for your never-ending support and positive words as I completed my graduate degree. -
Winter Weatherland
A theme guide for kindergarten | Unit 8 Winter Weatherland PLUS 43018 KinderCorner 2nd Edition Plus Theme Guide: Unit 8 © 2016 Success for All Foundation. All rights reserved. Produced by the KinderCorner 2nd Edition Plus Team Cathy Pascone Jennifer Austin Lori Martin Richard Gifford Coleen Bennett Joe H. Wilson Marti Gastineau Russell Jozwiak Deb Branner Karen Poe Meghan Fay Sarah Eitel Devon Bouldin Kate Conway Michael Hummel Sue Belt Irene Baranyk Kathy Brune Michelle Zahler Susan Perkins Irina Mukhutdinova Kelly Rose Nancy Madden Teresa Blanton James Bravo Kenly Novotny Nick Leonhardt Tina Widzbor Jane Strausbaugh Kimberly Sargeant Patrice Case-McFadin Tonia Hawkins Janet Wisner Laura Alexander Patricia Johnson Wanda Jackson Jeffrey Goddard Laurie Warner Rebecca Prell Wendy Fitchett We wish to acknowledge the coaches, teachers, and children who We wish to thank Pitney Bowes piloted the program and provided valuable feedback. and Macy’s for their generous We wish to acknowledge the creative contributions of our funding in support of the collaborators at Sirius Thinking, Ltd. development of engaging media for the Home Link shows. The Success for All Foundation grants permission to reproduce the blackline masters of this KinderCorner 2nd Edition Plus theme guide on an as-needed basis for classroom use. KinderCorner is brought to you by the Success for All Foundation in partnership with Sesame Workshop, the non-profit educational organization behind Sesame Street. A Nonprofit Education Reform Organization 300 E. Joppa Road, Suite 500, Baltimore, MD 21286 PHONE: (800) 548-4998; FAX: (410) 324-4444 E-MAIL: [email protected] WEBSITE: www.successforall.org Table of Contents Why Winter Weatherland? ................................................. -
Kenneth Goldstein MUNFLA Song Collections Finding
Kenneth Goldstein MUNFLA Song Collections Finding Aid Carol Pelletier, comp. with the assistance of Sandra Hounsell March 1996 Introduction 1 Inventory of Collections 3 Tape Number Concordance 7 Song Title Index 13 Performer Index 87 Memorial University of Newfoundland Folklore and Language Archive (MUNFLA) St. John's, Newfoundland CANADA A1B 3X8 1996 ...\kgoldsco.hd This finding aid gives access to the folksong collections of Dr. Kenneth S. Goldstein (1927-1995) housed at the Memorial University of Newfoundland Folklore and Language Archive (MUNFLA). Kenneth Goldstein, a distinguished American folklore scholar and theorist, spent two years (1976-78) as the head of the Department of Folklore at the Memorial University of Newfoundland. From that time until his death on 11 November 1995 he was a Research Associate at Memorial. In this capacity and with several local collectors, from 1978 until 1990, he amassed a collection of folksongs from various parts of Newfoundland and Labrador. His Newfoundland collections came from St. John’s, the Southern Shore, St. Mary’s Bay, Placentia Bay, the Burin Peninsula, Conception Bay, Trinity Bay, Bonavista Bay, White Bay, Fogo Island, the Great Northern Peninsula and the Codroy Region. He also recorded songs in Central Labrador and the southern coast of Labrador. About 3400 songs were collected by Goldstein from 243 performers in the province. The Goldstein materials at MUNFLA comprise 208 tapes, organized into twenty-three collections. Each tape is uniquely identified by its own shelflist number (prefixed by an F- or a C-, depending on whether it is a workcopy), and each collection by its accession number.