ONLINE IRISH MUSIC INSTRUMENT COURSES Covering 14 Irish Traditional Music Instruments Plus Song

Total Page:16

File Type:pdf, Size:1020Kb

ONLINE IRISH MUSIC INSTRUMENT COURSES Covering 14 Irish Traditional Music Instruments Plus Song OAIMNLINE ACADEMY OF IRISH MUSIC ACADEMY SYLLABUS ONLINE IRISH MUSIC INSTRUMENT COURSES Covering 14 Irish traditional music instruments plus song. New Courses added regularly, checkCourses Page for full listing. Includes direct link to Course Page for more information. www.oaim.ie SUITABLE NUMBER LINK TO COURSE FOR WHO IS THIS COURSE NAME INSTRUMENT TUTOR COURSE DESCRIPTION OF ON COMPLETION PAGE FOR MORE ABSOLUTE COURSE FOR LESSONS INFORMATION BEGINNER Your tutor Kirsten Allstaff will guide you every step of the way. First, you will learn how to hold the instrument, proper hand & finger posture and good basic technique, which are all important basics to By the end of the course, the This course is aimed at the get right before you move on. Then, there is a learner will have a repertoire of absolute beginner whistle progressive study of scales, articulation and seventeen popular Irish session player. Tin whistle Basics is Tin Whistle Basics Whistles Basics Tin Whistle Kirsten Allstaff Yes ornamentation with relevant exercises throughout, 17 tunes, the ability to play cuts, Course Page an excellent starting point all learned through the tutor’s precise choice of taps and rolls as well as a for any aspiring Irish tunes for the appropriate level of ability. The 'Whistle deeper understanding of the musician. Basics' course will equip the beginner whistler with Irish music tradition. the necessary rudiments to begin a journey down the long and adventurous road of Irish whistle playing. The techniques recapped in this course include: cuts, Due to popular demand, By the end of the course you taps, slides, the breath, articulation and Easy Tin Whistle Session will have a repertoire of 15 easy rolls. Technique studies are kept simple and Tunes has been created as and popular Irish Session basic. Most of the lessons feature a technical exercise Easy Tin Whistle Easy Tin Whistle Session a companion and follow- tunes, 8 reels and 7 jigs, that Session Tunes Course Tin Whistle Kirsten Allstaff No designed to optimise the learning of specific scale 15 Page Tunes on course to our most you can easily master with little patterns, ornamentations and articulation popular course here on effort under the expert methods. When these techniques are practised OAIM the Tin Whistle guidance of master whistler, regularly and at consistent tempo, they contribute to Basics course. Kirsten Allstaff. building finger dexterity, the mark of tin whistle mastery. Kirsten explores simple tin-whistle embellishments By the end of the course the such as the cut, tap, roll and the slide. Emphasis is player will be more The course 'Tin Whistle placed on breathing, phrasing, variation and rhythm comfortable playing Foundations' is a throughout the thirteen taught tunes. Jigs, Slides, ornamentation on the whistle, Tin Whistle Foundations Course Tin Whistle Foundations Tin Whistle Kirsten Allstaff No continuation from the Reels, Hornpipes, Barndances and an O'Carolan 13 will have a broader repertoire Page previous two tin whistle composition are all featured. In the videos, Kirsten and a better knowledge or Irish courses. teaches each tune slowly, phrase by phrase and music and will be ready to recommends that students learn with her this way, explore more advanced tunes by ear. and tin-whistle techniques. © Online Academy of Irish Music. Join us and keep Irish Music alive wherever you are in the world. A la fin du cours vous aurez Ensemble nous découvrons l'instrument: la position donc appris douze morceaux des mains, le doigté, la gamme de base, l'octave, populaires du répertoire de comment séparer les notes, les ornementations de musique traditionnelle base. D'une maniére progressive, nous couvrons les https://www.oaim.ie/ti Cours Debutants de Tin Pour un débutant Irlandaise, vous serez capable n-whistle/cours- Tin Whistle Gwenn Frin Yes éléments essentiels nécessaire pour commencer 13 debutants-de-tin- Whistle en Francais complet. de jouer les ornementations whistle-en-francais/ votre voyage musical en tant que joueur de tin simples et vous aurez un bon whistle. Dans chaque leçon nous apprenons un aperçu des différents types de morceau et couvrons la/les difficultés techniques morceaux de musique qu'il présente en détail. Irlandaise. Wichtige Grundlagen, zum Beispiel, wie man die Flöte hält, die richtige Hand- und Fingerstellung und eine gute Grundtechnik, werden in den ersten Am Ende des Kurses verfügen Lektionen vermittelt. Während des ganzen Kurses die Teilnehmenden über ein werden Tonleitern, Verzierungen und die Artikulation Repertoire von siebzehn schrittweise und mit entsprechenden Übungen bekannten irischen Liedern, sie Dieser Kurs richtet sich an Tin Whistle-Grundkurs - erarbeitet. Der Grundkurs rüstet angehende Whistler beherrschen das Spielen von https://oaim.ie/tin- Tin Whistle Kirsten Allstaff Yes Anfänger auf der Tin 17 whistle/tin-whistle- German Subtitles und Whistlerinnen mit den erforderlichen Cuts, Taps und Rolls und Whistle. grundkurs/ Grundlagen für die lange und abenteuerliche Reise haben sich eine tiefere durch die traditionelle irische Whistlemusik aus. Kenntnis der traditionellen irischen Musik angeeignet. Wenn Sie die Videolektionen mit Google Chrome ansehen, werden die Informationen und Tipps unterhalb der Videos automatisch übersetzt. The aim of this course is to discover and enhance the Discover new ways of adding Tin whistle players who learner's own playing style, and to increase their texture and colour to a https://www.oaim.ie/tin- are comfortable with confidence through learning and incorporating a Expert Whistle Skills #1 Tin Whistle Thomas Johnston No 13 carefully selected repertoire of whistle/expert-whistle- playing and ready to wide range of ornaments, variations and other skills-1/ challenging jigs, slip jigs, reels, develop their style. advanced stylistic features such as crans, trills, slides, and hornpipes. and tonguing in their playing. In this course Thomas continues to explore more advanced whistle techniques such as the trill, vibrato, different types of rolls and tonguing Master the trill, vibrato, Expert Whistle Skills 2 is technique. Emphasis is also placed on variation in different types of rolls and designed to follow on ornamentation, phrasing, melody and rhythm. tonguing technique. Emphasis https://oaim.ie/tin- Expert Whistle Skills #2 Tin Whistle Thomas Johnston No 13 whistle/expert-whistle- from Expert Whistle Skills Although aimed at the advanced player, this course is also placed on variation in skills-2/ #1 has much to offer the less experienced player also. ornamentation, phrasing, The learner is given the tools to transfer these new melody and rhythm. acquired skills to tunes which they already have in their repertoire. © Online Academy of Irish Music. Join us and keep Irish Music alive wherever you are in the world. The tutor will patiently guide you from holding the stick and the drum, and learning the basic stroke, right through to sophisticated patterns on the drum, step by step. The emphasis in this course is on technique. The tutor equips you with the rudiments This course is designed to you will need to develop your own style of playing. equip the beginner with all the You will also learn fail proof techniques to https://oaim.ie/bodhran/ Bodhrán Basics Bodhrán Brian Fleming Yes Suitable for beginners. 13 rudiments necessary to differentiate between reels and jigs and how to bodhran-basics/ tastefully accompany follow the structure of a set of tunes in your playing. traditional Irish music. Lessons 7 and 10, respectively will tell you all you need to know to get going on the bones and spoons, respectively, so that you will have the full quiver of traditional Irish percussion instruments in your armory. In this course 'Bodhrán Technique', maestro percussionist Jim Higgins presents a range of rhythmical accompaniments to cover a variety of tune types - Reels, Jigs, Slipjigs, Slides, Polkas and Hornpipes. Over the course of the13 tutorials, Jim Learn a range of rhythmical discusses and demonstrates many techniques that accompaniments to cover a the learner Bodhrán player can add to his palette of https://oaim.ie/bodhran/ Bodhrán Technique Bodhrán Jim Higgins No Improver. 13 variety of tune types - Reels, techniques - rolls, backhand motion, the use of bodhran-technique/ Jigs, Slipjigs, Slides, Polkas and syncopation, the 'Bo Diddley Beat', and rim Hornpipes. techniques to name but a few. As a drummer, he frequently discusses how to apply what can be done on a drum kit to the Bodhrán. The video tutorials are in a split screen format, so the learner can view the back hand as well as the forehand at all times. It begins with a series of six lessons which teach how to hold the instrument, proper posture, bowing The 'Fiddle Basics' course will technique and two easy tunes. Good basic technique equip the beginner fiddle is addressed throughout the tutorials. OAIM’s unique, player with fourteen great This course is for the animated fiddle graphics supports the student and tunes as well as all the https://oaim.ie/irish- Fiddle Basics Fiddle Niamh Dunne Yes 18 beginner fiddler. helps one to learn more efficiently. In the necessary rudiments to start fiddle/fiddle-basics/ subsequent twelve lessons, there is a progressive the journey down the long and study of fingering, bowing, tunes and adventurous road of Irish fiddle ornamentation. Emphasis is placed on tempo, playing. rhythm and tone when teaching the tunes. © Online Academy of Irish Music. Join us and keep Irish Music alive wherever you are in the world. In this course, Aidan passes down the skills, knowledge and repertoire from the great Donegal Bowing techniques: the use of fiddlers to the fiddle students of OAIM. All the tunes the up-bow, tight bowing, This course is a 'must' for taught are firmly rooted in the Donegal tradition; open and closed triplets and any student interested in stalwarts such as 'The Glen Road to Carrick', 'Bundle cranns.
Recommended publications
  • Communication No. 37
    THE LIVING TRADITION CEARNÓG BELGRAVE, BAILE NA MANACH, CO. ÁTHA CLIATH Phone: 01-2800295. Fax: 01-2803759 Email:[email protected] Website:http://www.comhaltas.ie COMHALTAS – CORONAVIRUS Communication No. 37 The dictionary definition of ‘Think-Tank’ is ‘a group of people expert in some field, regarded as a source of ideas and solutions to problems’. Never was this more appropriate than on the 19th June. Here we had the leadership of our cultural movement bringing their experience and vision to the table. The Comhaltas Think-Tank na nGael didn’t disappoint. It was focused, positive and energising. The combined experience and responses to challenges was a lighthouse in these troubled times. Well done to all concerned. • FLEADHFEST ‘ A BRILLIANT IDEA’…. It is nostalgic, uplifting and inspirational. Here is how Comhaltas stalwart Joannie O’ Leary of San Francisco Comhaltas puts it: ‘I cannot tell you how excited we are at the release of the FLEADHFEST videos for our West Region this week. We sincerely appreciate the opportunity to present our story, which was greatly enhanced by our West Region Vice-Chair Mary Carey and her daughter Diana in Oregon…What a brilliant idea which has enticed us to start our own branch archives. Congratulations on a wonderfully successful project and thank you.’ • SCOIL ÉIGSE…Briseann an dúchas…. We are delighted to announce that this year the Comhaltas Scoil Éigse will be delivered online via Zoom from Monday August 2nd to Thursday August 5th. The Director again is Kieran Hanrahan and Administrator Liza O'Shea. We were accepting online applications only from 10am, Monday 5th July.
    [Show full text]
  • 1St Annual Dreams Come True Feis Hosted by Central Florida Irish Dance Sunday August 8Th, 2021
    1st Annual Dreams Come True Feis Hosted by Central Florida Irish Dance Sunday August 8th, 2021 Musician – Sean Warren, Florida. Adjudicator’s – Maura McGowan ADCRG, Belfast Arlene McLaughlin Allen ADCRG - Scotland Hosted by - Sarah Costello TCRG and Central Florida Irish Dance Embassy Suites Orlando - Lake Buena Vista South $119.00 plus tax Call - 407-597-4000 Registered with An Chomhdhail Na Muinteoiri Le Rinci Gaelacha Cuideachta Faoi Theorainn Rathaiochta (An Chomhdhail) www.irishdancingorg.com Charity Treble Reel for Orange County Animal Services A progressive animal-welfare focused organization that enforces the Orange County Code to protect both citizens and animals. Entry Fees: Pre Bun Grad A, Bun Grad A, B, C, $10.00 per competition Pre-Open & Open Solo Rounds $10.00 per competition Traditional Set & Treble Reel Specials $15.00 per competition Cup Award Solo Dances $15.00 per competition Open Championships $55.00 (2 solos are included in your entry) Championship change fee - $10 Facility Fee $30 per family Feisweb Fee $6 Open Platform Fee $20 Late Fee $30 The maximum fee per family is $225 plus facility fee and any applicable late, change or other fees. There will be no refund of any entry fees for any reason. Submit all entries online at https://FeisWeb.com Competitors Cards are available on FeisWeb. All registrations must be paid via PayPal Competitors are highly encouraged to print their own number prior to attending to avoid congestion at the registration table due to COVID. For those who cannot, competitor cards may be picked up at the venue. For questions contact us at our email: [email protected] or Sarah Costello TCRG on 321-200-3598 Special Needs: 1 step, any dance.
    [Show full text]
  • Reel of the 51St Division
    Published by the LONDON BRANCH of the ROYAL SCOTTISH COUNTRY DANCE SOCIETY www. rscdslondon.org.uk Registered Charity number 1067690 Dancing is FUN! No 260 MAY to AUGUST 2007 ANNUAL GENERAL SUMMER PICNIC DANCE MEETING In the Grounds of Harrow School The AGM of the Royal Scottish Country Saturday 30 June 2007 from 2.00-6.00pm. Dancing to David Hall and his Band Dance Society London Branch will be held at The nearest underground station is Harrow on the Hill. St Columba's Church (Upper Hall), Pont Programme Harrow School is 10 to 15 minutes walk east along Street, London, SWI on Friday 15 June 2007. The Dashing White Sergeant .............. 2/2 Lowlands Road (A404) and then right into Peterborough Tea will be served at 6pm and the meeting will The Happy Meeting ......................... 29/9 Road to Garlands Lane, first on left. The 258 bus from commence at 7pm. There will be dancing after Monymusk ...................................... 11/2 Harrow on the Hill tube station heading towards South the meeting. The White Cockade ......................... 5/11 Harrow drops passengers just below Garlands Lane – it’s AGENDA Neidpath Castle ............................... 22/9 about a 5 min ride. The same bus travels from South 1 Apologies. The Wild Geese .............................. 24/3 Harrow tube station also past Garlands Lane. (Note that 2 Approval of minutes of the 2006 AGM. The Reel of the 51st Division ....... 13/10 the fare is £2 now for any length of journey.) Taxis are 3 Business arising from the minutes. The Braes of Breadalbane ................ 21/7 available from the station. Ample car parking is available 4 Report on year's working of the Branch.
    [Show full text]
  • WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
    WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
    [Show full text]
  • Another One Hundred Tunes” Published October 25, 2013
    O’Flaherty Irish Music Retreat “Another One Hundred Tunes” Published October 25, 2013 We decided to issue a third tunebook in celebration of the tenth year of the O’Flaherty Irish Music Retreat. It is hard to believe that a decade has passed since we held our first event at the Springhill Retreat Center in Richardson, Texas back in October of 2004. None of us who organized that first event had any indication that it would grow as it has. What started as a small local music camp has given rise to a well-respected international camp attracting participants from near and far. We have been successful over the years because of two primary factors – good teachers and good learners. Fortunately, we have never had a shortage of either so we have not only survived, but have expanded greatly in both scope and size since our founding. There is one other factor of our success that is important to remember – the music itself. Traditional Irish music is unlike any music I’ve known. On one hand, I have seldom encountered music more difficult to master. Playing “authentically” is the goal but that goal can take years if not a lifetime of listening, practicing and playing. On the other hand, the music by its nature is so accessible that it permits players to engage in it at any level of ability. It is not uncommon for experienced players to encourage novices and help establish a connection with this remarkable music tradition. That connection is the essence of what we try to do at our retreat – pass on the music as musicians have done in Ireland for centuries.
    [Show full text]
  • Rhythm Bones Player a Newsletter of the Rhythm Bones Society Volume 10, No
    Rhythm Bones Player A Newsletter of the Rhythm Bones Society Volume 10, No. 3 2008 In this Issue The Chieftains Executive Director’s Column and Rhythm As Bones Fest XII approaches we are again to live and thrive in our modern world. It's a Bones faced with the glorious possibilities of a new chance too, for rhythm bone players in the central National Tradi- Bones Fest in a new location. In the thriving part of our country to experience the camaraderie tional Country metropolis of St. Louis, in the ‗Show Me‘ state of brother and sisterhood we have all come to Music Festival of Missouri, Bones Fest XII promises to be a expect of Bones Fests. Rhythm Bones great celebration of our nation's history, with But it also represents a bit of a gamble. We're Update the bones firmly in the center of attention. We betting that we can step outside the comfort zones have an opportunity like no other, to ride the where we have held bones fests in the past, into a Dennis Riedesel great Mississippi in a River Boat, and play the completely new area and environment, and you Reports on bones under the spectacular arch of St. Louis. the membership will respond with the fervor we NTCMA But this bones Fest represents more than just have come to know from Bones Fests. We're bet- another great party, with lots of bones playing ting that the rhythm bone players who live out in History of Bones opportunity, it's a chance for us bone players to Missouri, Kansas, Illinois, Oklahoma, and Ne- in the US, Part 4 relive a part of our own history, and show the braska will be as excited about our foray into their people of Missouri that rhythm bones continue (Continued on page 2) Russ Myers’ Me- morial Update Norris Frazier Bones and the Chieftains: a Musical Partnership Obituary What must surely be the most recognizable Paddy Maloney.
    [Show full text]
  • Compton Music Stage
    COMPTON STAGE-Saturday, Sept. 18, FSU Upper Quad 10:20 AM Bear Hill Bluegrass Bear Hill Bluegrass takes pride in performing traditional bluegrass and gospel, while adding just the right mix of classic country and comedy to please the audience and have fun. They play the familiar bluegrass, gospel and a few country songs that everyone will recognize, done in a friendly down-home manner on stage. The audience is involved with the band and the songs throughout the show. 11:00 AM The Jesse Milnes, Emily Miller, and Becky Hill Show This Old-Time Music Trio re-envisions percussive dance as another instrument and arrange traditional old-time tunes using foot percussion as if it was a drum set. All three musicians have spent significant time in West Virginia learning from master elder musicians and dancers and their goal with this project is to respect the tradition the have steeped themselves in while pushing the boundaries of what old-time music is. 11:45 AM Ken & Brad Kolodner Quartet Regarded as one of the most influential hammered dulcimer players, Baltimore’s Ken Kolodner has performed and toured for the last ten years with his son Brad Kolodner, one of the finest practitioners of the clawhammer banjo, to perform tight and musical arrangements of original and traditional old-time music with a “creative curiosity that lets all listeners know that a passion for traditional music yet thrives in every generation (DPN).” The dynamic father-son duo pushes the boundaries of the Appalachian tradition by infusing their own brand of driving, innovative, tasteful and unique interpretations of traditional and original fiddle tunes and songs.
    [Show full text]
  • The Open Back of the Open-Back Banjo
    HDP: 13 { 02 glasswork by M. Desy The Open Back of the Open-Back Banjo David Politzer∗ California Institute of Technology (Dated: December 2, 2013) ...in which a simple question turned into a great adventure and even got answered. (Of course, you might already know the answer yourself.) In a triumph of elementary physics, six measured numbers receive a satisfactory account using two adjustable parameters. ∗[email protected]; http://www.its.caltech.edu/~politzer; 452-48 Caltech, Pasadena CA 91125 2 The Open Back of the Open-Back Banjo I. THE RIM QUESTION The question seemed straightforward. What is the impact of rim height on the sound of an open-back banjo? FIG. 1. an open-back banjo's open back 3 mylar (or skin) head metal flange rim height drum rim wall open back resonator back (Which head is bigger? Auditory (as opposed to optical) illusions only came into their own with the development of digital sound.) FIG. 2. schematic banjo pot cross sections There are a great many choices in banjo design, construction, and set-up. For almost all of them, there is consensus among players and builders on the qualitative effect of possible choices. Just a few of the many are: string material and gauge; drum head material, thickness, and tension; neck wood and design; rim material and weight; tailpiece design and height; tone ring design and material. However, there is no universal ideal of banjo perfection. Virtually every design that has ever existed is still played with gusto, and new ones of those designs are still in production.
    [Show full text]
  • 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 _ -- -"-".,---.
    [Show full text]
  • Extension Activity
    Extension Activity - How the Banjo Became White Rhiannon Giddens is a multi-instrumentalist, singer, and found- ing member of the old-time music group Carolina Chocolate Drops. In 2017 she was awarded the Macarthur “Genius” Grant. Below are excerpts from a keynote address she gave at the 2017 International Bluegrass Music Association Conference, where she discusses the erasure of African Americans in the history of bluegrass, a genre that predominantly features the banjo. So more and more of late, the question has been asked: how do we get more diversity in bluegrass? Which of course, behind the hand, is really, why is bluegrass so white??? But the answer doesn’t lie in right now. Before we can look to the future, we need to understand the past. To understand how the banjo, which was once the ultimate symbol of African American musical expression, has done a 180 in popular understanding and become the emblem of the mythical white mountaineer—even now, in the age of Mumford and Sons, and Béla Fleck in Africa, and Taj Mahal’s “Colored Aristocracy,” the average person on the street sees a banjo and still thinks Deliverance, or The Beverly Hillbillies. In order to understand the history of the banjo and the history of bluegrass music, we need to move beyond the narratives we’ve inherited, beyond generalizations that bluegrass is mostly derived from a Scots-Irish tradition, with “influences” from Africa. It is actually a complex creole music that comes from multiple cultures, African and European and Native; the full truth that is so much more interesting, and American.
    [Show full text]
  • Music, Image, and Identity: Rebetiko and Greek National Identity
    Universiteit van Amsterdam Graduate School for Humanities Music, Image, and Identity: Rebetiko and Greek National Identity Alexia Kallergi Panopoulou Student number: 11655631 MA Thesis in European Studies, Identity and Integration track Name of supervisor: Dr. Krisztina Lajosi-Moore Name of second reader: Prof. dr. Joep Leerssen September 2018 2 Table of Contents Introduction ......................................................................................................................... 4 Chapter 1 .............................................................................................................................. 6 1.1 Theory and Methodology ........................................................................................................ 6 Chapter 2. ........................................................................................................................... 11 2.1 The history of Rebetiko ......................................................................................................... 11 2.1.1 Kleftiko songs: Klephts and Armatoloi ............................................................................... 11 2.1.2 The Period of the Klephts Song .......................................................................................... 15 2.2 Rebetiko Songs...................................................................................................................... 18 2.3 Rebetiko periods ..................................................................................................................
    [Show full text]
  • Greek Cultures, Traditions and People
    GREEK CULTURES, TRADITIONS AND PEOPLE Paschalis Nikolaou – Fulbright Fellow Greece ◦ What is ‘culture’? “Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts […] The word "culture" derives from a French term, which in turn derives from the Latin "colere," which means to tend to the earth and Some grow, or cultivation and nurture. […] The term "Western culture" has come to define the culture of European countries as well as those that definitions have been heavily influenced by European immigration, such as the United States […] Western culture has its roots in the Classical Period of …when, to define, is to the Greco-Roman era and the rise of Christianity in the 14th century.” realise connections and significant overlap ◦ What do we mean by ‘tradition’? ◦ 1a: an inherited, established, or customary pattern of thought, action, or behavior (such as a religious practice or a social custom) ◦ b: a belief or story or a body of beliefs or stories relating to the past that are commonly accepted as historical though not verifiable … ◦ 2: the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction ◦ 3: cultural continuity in social attitudes, customs, and institutions ◦ 4: characteristic manner, method, or style in the best liberal tradition GREECE: ANCIENT AND MODERN What we consider ancient Greece was one of the main classical The Modern Greek State was founded in 1830, following the civilizations, making important contributions to philosophy, mathematics, revolutionary war against the Ottoman Turks, which started in astronomy, and medicine.
    [Show full text]