Companion to Irish Traditional Music Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Companion to Irish Traditional Music Pdf, Epub, Ebook COMPANION TO IRISH TRADITIONAL MUSIC PDF, EPUB, EBOOK Fintan Vallely | 856 pages | 30 Nov 2011 | Cork University Press | 9781859184509 | English | Cork, Ireland Companion to Irish Traditional Music PDF Book With certain honourable exceptions, the few texts available mostly either bask in a fast fading Celtic twilight, or concentrate on the music's formal characteristics, as though it had been brought into the world by some miracle of non-human conception. Daniel Cornwall marked it as to-read Aug 28, To see what your friends thought of this book, please sign up. The harping tradition did not long outlast the native Gaelic aristocracy which supported it. The contributions are non-technical enough, but I doubt that most musicians or punters would swallow this in preference to the dozen or so pints they could buy with the asking price. Views Read Edit View history. Folk and indigenous music. Want to Read Currently Reading Read. Irish traditional music also known as Irish trad , Irish folk music , and other variants is a genre of folk music that developed in Ireland. I had a lot of fun wading through these, and in discerning the ages of some of the younger stalwarts of the Irish singing scene. Problems playing this file? Accordion Fiddle Great Highland bagpipe Piano. There is though a most pleasing watercolour of the piper Felix Doran, which adorns the dust jacket. Hardcover , pages. One measure of its age is the language used. Duple-time Polka Highland Schottische. A captive audience for two hours a week, and a whole heap of heaven-sent assertions about modal classification schemes and ethno-geographic performance models and tune types and Child Numbers and unheard-of collections of broadside ballads, with which to bore the buggers rigid. The traditional music scene has changed radically since the s, and now by the second decade of the 21st century it is seen to have become an established part of Irish culture. It has occasionally been fused with rock and roll , punk rock and other genres. Celtic music. Unlike other forms of media, there is little one can do but pick through the thing, highlighting those features which fall below whatever arbitrary standards the reviewer happens to set. Many airs have an AABA form. However, I am familiar with the latter and pronounce it a major contribution to our knowledge of Irish music generally. Uniquely too, The Companion carries extensive data on Irish traditional music as it is played in all counties of the island of Ireland, as well as in Britain, Scotland, the USA and the major European countries. Barney McKenna of The Dubliners is often credited with paving the way for the banjo's current popularity, and was still actively playing until his death in , aged It is difficult to see why. The other common design consists of a barrel made of seamless tubing fitted into a plastic or wooden mouthpiece. Kevin Burget rated it really liked it Dec 27, Ireland: Waltons. A third edition, updated and developed, is in production, publication expected in late Finally, and most significantly of all, the music and song traditions of England and Ireland have overlapped and influenced each other for centuries. Companion to Irish Traditional Music Writer To see what your friends thought of this book, please sign up. Alec Finn and Mick Conneely are the only notable players still using a Greek bouzouki, one of the older style trixordo three course six string instruments tuned DAD. Hidden categories: Webarchive template wayback links Articles with short description Short description matches Wikidata EngvarB from October Use dmy dates from October All articles with unsourced statements Articles with unsourced statements from May Articles with unsourced statements from September Articles with unsourced statements from March Articles needing additional references from July All articles needing additional references Articles with unsourced statements from February Articles with unsourced statements from March Articles with hAudio microformats. No trivia or quizzes yet. Howard Staveley marked it as to-read Dec 24, Either way, as an academic subject, a large proportion of the books which serve it fail to live up to academic standards. Now, England is nothing like as well staffed as Ireland when it comes to authorities on indigenous music. The third in a series of music companion fact books by noted historian Dale Danny is currently reading it Sep 19, Donegal fiddle playing is characterised by fast, energetic bowing, with the bow generating the majority of the ornamentation; Clare fiddle playing is characterised by slower bowing, with the fingering generating most of the ornamentation. Instead of the staved round back of the Greek bouzouki, Irish bouzoukis usually have a flat or lightly arched back. Wikimedia Commons. With the release of American recordings of Irish traditional musicians e. Historically much old-time music of the USA grew out of the music of Ireland, England and Scotland, as a result of cultural diffusion. English concertinas, by contrast, sound the same note for any given button, irrespective of the direction of bellows travel. Lists with This Book. Tommy Peoples , Clare e. Celtic rock is a genre of folk rock and a form of Celtic fusion pioneered in Ireland which incorporates Celtic music , instrumentation and themes into a rock music context. Tradition holds that seven years learning, seven years practising and seven years playing is required before a piper could be said to have mastered his instrument. Categories : Irish folk music Irish culture. Ceo Teo. The Five Classics Michael Coleman and increased communications and travel opportunities, regional styles have become more standardised. However, I am familiar with the latter and pronounce it a major contribution to our knowledge of Irish music generally. From Mazovia to Meenbanad. Original flutes from the pre-Boehm era continue in use, but since the s a number of craftsmen have revived the art of wooden flute making. Many airs have an AABA form. The s saw a number of innovative performers. Heather added it Jun 08, Home 1 Books 2. Details if other :. Regarding the present volume, it is among the biographic sections that most of the inconsistencies seem to occur - and, even allowing for limitations of space, I found some odd omissions. Fintan Vallely has harnessed the expertise of dozens of specialists who between them present a remarkably comprehensive picture of the field, incorporating ancient history, past ideals, and contemporary ideologies. Modern songs and tunes often come from cities and towns, Irish songs went from the Irish language to the English language. Rather, I am concerned that long centuries of brutal occupation pushed Ireland into a state of cultural isolation, and into a blind negation of the idea that any such thing as English traditional culture could possibly exist, or could possibly have affected Irish culture. In one case, the author is identified as BOO, but nobody matching those initials is listed among the contributors. Fintan Vallely. Want to Read saving…. Anyone into biographies of present day musicians could well follow some of these up with another of Fintan's books, co-authored with Charlie Piggott - Blooming Meadows Town House, Dublin, Mariachi Philharmonic Mariachi in the Traditional String. Companion to Irish Traditional Music Reviews Built with Volusion. The Life and Music of James Wilson. As a consequence, sequential notes can be played without altering the bellows direction. More Details Hardcover , pages. Enlarge cover. But where do you go from there? I was also surprised to find the anonymous author of this piece claiming that the first English folk club to set up was the Topic in Bradford in Michael Coleman and increased communications and travel opportunities, regional styles have become more standardised. That is their earlier appellation and that is how Verena Cummins identifies them in this book. Later additions to the repertoire include the waltz 3 4 with a heavy accent on the down beat and, in Donegal , mazurkas in the same time signature, though with an accent on the 2nd beat. Although people contributed to this volume, the number who were approached was actually in excess of Donegal is also notable for its "highland," a sort of Irish version of the Scottish strathspey , but with a feel closer to a reel with the occasional scots snap. Asier added it May 21, Just a moment while we sign you in to your Goodreads account. Though solo performance is preferred in the folk tradition, bands or at least small ensembles have probably been a part of Irish music since at least the midth century, although this is a point of much contention among ethnomusicologists. The contributions are non-technical enough, but I doubt that most musicians or punters would swallow this in preference to the dozen or so pints they could buy with the asking price. Occasionally, at pub sessions, there are some non-traditional hand drums used, such as the West African Djembe drum — which can produce a low booming bass note, as well as a high pitched tone — and the Caribbean Bongo drum. Additionally, hornpipes often have three quavers or quarternotes at the end of each part, followed by pickup notes to lead back to the beginning of the A part of onto the B part. The other common design consists of a barrel made of seamless tubing fitted into a plastic or wooden mouthpiece. This was possibly because the country was not a geographical battleground in either of the two World Wars. Lists with This Book. Bruce Triggs rated it it was amazing Sep 07, Music Sales Corporation. Back to Books index. In fact, a separate appendix, with names and addresses of all companies producing Irish records, would have been a distinct asset.
Recommended publications
  • 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.
    [Show full text]
  • Northwest Accordion News
    NORTHWEST ACCORDION NEWS Alpenfest! Holiday Polka Washington State Fair Bringing Structure to Abstract Chaos Accordion Social Reports from the Northwest Groups VOL. 23 NO. 4 Northwest Accordion Society Winter Quarter 2013 Northwest Accordion News NWAS News Deadlines NORTHWEST ACCORDION SOCIETY February 1, May 1, August 1, November 1 The Northwest Accordion News is a quarterly newsletter published by the Northwest Accordion Inquiries, questions, suggestions, etc. Society for and by its members. The purpose of Contact Doris Osgood, 3224 B St., the NWAS News is to unite the membership by Forest Grove, OR 97116. (503) 357-0417. providing news of its members, and articles that E-mail: [email protected] instruct, encourage, and promote the playing of the accordion. NWAS PUBLICATION PRIORITIES ♦ Advertising Mail letters & articles to: ♦ Original Compositions Northwest Accordion Society ♦ News from Our Members 5102 NE 121st Ave. #12, ♦ Instructive/Technical Articles Vancouver, WA 98682 ♦ Summaries from Regional Socials and Or e-mail to: [email protected] Events ♦ Coming Events ADVERTISING Articles will be printed if received prior to Full page $110.00 the publishing deadline. Should space be an Half page $55.00 issue, articles will be printed in the order in which Quarter $30.00 they are submitted. All decisions regarding Business card $10.00 publication will be made by the editors of the Prices are PER ISSUE. US Funds NWAS News. To submit articles for publication, mail Photo-ready Advertising (with accompanying check) them to the Vancouver, WA address listed. It is for this publication may be sent to: preferred that articles be submitted via e-mail as Northwest Accordion Society attached WORD documents or on a disc.
    [Show full text]
  • Gknforgvillogt Folk Club Is a Non Smokingvenue
    The Internationully F amous GLENFARG VILLAGE FOLK CLUB Meets everT Monday at 8.30 Pm In the Terrace Bar of The Glenfarg Hotel (01577 830241) GUEST LIST June 1999 7th SINGAROUNI) An informal, friendly and relared evening of song and banter. If you fancy performing a song, tune, poem or relating a story this is the night for you. 14th THE CORNER BOYS Drawing from a large repertoire of songs by some of the worlds finest songwriters, as well as their own fine original compositions, they sing and play with a rakish, wry humour. Lively, powerful, humorous and yet somehow strangely sensitive, their motto is... "Have Diesel will travel - book us before we die!" Rhythm Rock 'n' Folky Dokey, Goodtime Blues & Ragtime Country. 21st DAVID WILKIE & COWBOY CELTIC On the western plains of lfth Century North America, intoxicating Gaelic melodies drifted through the evening air at many a cowboy campfire. The Celtic origins of cowboy music are well documented and tonight is your chance to hear it performed live. Shake the trail dust from your jeans and mosey along for a great night of music from foot stompin' to hauntingly beautiful' 28th JULM HENIGAN As singer, instrumentalist and songwriter, Julie defies conventional categories. A native of the Missouri Ozarks, she has long had a deep affinity for American Folk Music. She plays guitar, banjo, fiddle and dulcimer. There is a strong Irish influence in Julie's music and her vocals are a stunning blend of all that is best in both the American and Irish traditions. 4th SUMMER PICNIC - LOCHORE MEADOWS, Near Kelty Z.OOpm 5th BLACKEYED BIDDY A warm welcome back to the club for this well loved pair.
    [Show full text]
  • 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”.
    [Show full text]
  • Contemporary Folk Dance Fusion Using Folk Dance in Secondary Schools
    Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part Contemporary Folk Dance Fusion Using folk dance in secondary schools By Kerry Fletcher, Katie Howson and Paul Scourfield Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Kerry Fletcher, Katie Howson and Paul Schofield Edited by: Frances Watt Copyright © English Folk Dance and Song Society, Kerry Fletcher, Katie Howson and Paul Schofield, 2014 Permission is granted to make copies of this material for non-commercial educational purposes.
    [Show full text]
  • Schottische Musik
    Masterprüfung Musik SCHOTTISCHE MUSIK Gestern und heute Reichmuth Fabienne Stoll Pierina SR 12 H16 Sach- und Begründungsanalyse Schottische Musik gestern und heute Abstract Die vorliegende Arbeit befasst sich mit schottischer Musik von früher und der Gegenwart als auch deren schulprak- tische Umsetzung auf der Sekundarstufe 1. In der Sach- und Begründungsanalyse werden Hintergrundinformatio- nen über typische schottische Instrumente und die Geschichte des Dudelsacks und der Scottish Folk Musik ge- sammelt. Es werden auch Merkmale der Scottish Folk Musik aufgeführt und thematisiert, inwiefern man diese musikalischen Merkmale in der heutigen schottischen Musik noch finden kann. Zudem wird der Cèilidh, eine typisch schottische Tanzveranstaltung, und die dazugehörige Tanzmusik kurz erläutert. Danach folgt die Begründungs- analyse, in welcher beschrieben wird, inwiefern die Thematik für die Lernenden von Bedeutung ist und welche Punkte des Lehrplans durch die Auseinandersetzung mit dem Thema Schottische Musik früher und heute abge- deckt werden können. Es folgen allgemeine Hinweise zur Umsetzung des Themas im Unterricht. Im Ideenpool werden weitere mögliche Anknüpfungspunkte zu den fünf Bereichen des Lehrplans 21 gesammelt. Im Hinblick auf die schulpraktische Umsetzung wurden exemplarische drei schottische Songs – The Ballad of John MacLean, This is the Life, und I’m Gonna Be (500 Miles) – gewählt. Zu den ersten beiden Songs wurde ein Lead- sheet, für den letzten ein Arrangement inklusive Spielhilfen für die Umsetzung im Klassenzimmer erstellt. Des Weiteren beinhaltet diese Arbeit eine Bewegungsanleitung für einen traditionellen Cèilidh zum Stück Virginia Reel. Zudem haben wir vier Arbeitsmaterialien zu den Themen Dudelsack, Edinburgh Military Tattoo, Cèilidhs und Schot- tische Instrumente erstellt. Zwei dieser Materialien und die Bewegungsanleitung lassen sich für den fächerüber- greifenden Unterricht in Kombination mit Englisch verwenden, was sich angesichts der Thematik offensichtlich anbietet.
    [Show full text]
  • 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“.
    [Show full text]
  • THE JOHN BYRNE BAND the John Byrne Band Is Led by Dublin Native and Philadelphia-Based John Byrne
    THE JOHN BYRNE BAND The John Byrne Band is led by Dublin native and Philadelphia-based John Byrne. Their debut album, After the Wake, was released to critical acclaim on both sides of the Atlantic in 2011. With influences ranging from Tom Waits to Planxty, John’s songwriting honors and expands upon the musical and lyrical traditions of his native and adopted homes. John and the band followed up After the Wake in early 2013 with an album of Celtic and American traditional tunes. The album, Celtic/Folk, pushed the band on to the FolkDJ Charts, reaching number 36 in May 2015. Their third release, another collection of John Byrne originals, entitled “The Immigrant and the Orphan”, was released in Sept 2015. The album, once again, draws heavily on John’s love of Americana and Celtic Folk music and with the support of DJs around the country entered the FolkDJ Charts at number 40. Critics have called it “..a powerful, deeply moving work that will stay with you long after you have heard it” (Michael Tearson-Sing Out); “The Vibe of it (The Immigrant and the Orphan) is, at once, as rough as rock and as elegant as a calm ocean..each song on this album carries an honesty, integrity and quiet passion that will draw you into its world for years to come” (Terry Roland – No Depression); “If any element of Celtic, Americana or Indie-Folk is your thing, then this album is an absolute yes” (Beehive Candy); “It’s a gorgeous, nostalgic record filled with themes of loss, hope, history and lost loves; everything that tugs at your soul and spills your blood and guts…The Immigrant and the Orphan scorches the earth and emerges tough as nails” (Jane Roser – That Music Mag) The album was released to a sold-out crowd at the storied World Café Live in Philadelphia and 2 weeks later to a sold-out crowd at the Mercantile in Dublin, Ireland.
    [Show full text]
  • Traditional Music of Scotland
    Traditional Music of Scotland A Journey to the Musical World of Today Abstract Immigrants from Scotland have been arriving in the States since the early 1600s, bringing with them various aspects of their culture, including music. As different cultures from around Europe and the world mixed with the settled Scots, the music that they played evolved. For my research project, I will investigate the progression of “traditional” Scottish music in the United States, and how it deviates from the progression of the same style of music in Scotland itself, specifically stylistic changes, notational changes, and changes in popular repertoire. I will focus on the relationship of this progression to the interactions of the two countries throughout history. To conduct my research, I will use non-fiction sources on the history of Scottish music, Scottish culture and music in the United States, and Scottish immigration to and interaction with the United States. Beyond material sources, I will contact my former Scottish fiddle teacher, Elke Baker, who conducts extensive study of ethnomusicology relating to Scottish music. In addition, I will gather audio recordings of both Scots and Americans playing “traditional” Scottish music throughout recent history to compare and contrast according to their dates. My background in Scottish music, as well as in other American traditional music styles, will be an aid as well. I will be able to supplement my research with my own collection of music by close examination. To culminate my project, I plan to compose my own piece of Scottish music that incorporates and illustrates the progression of the music from its first landing to the present.
    [Show full text]
  • “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.
    [Show full text]
  • Dave and Maggie Hunt
    Citation for Dave and Maggie Hunt It is unlikely that the people assembled here in Abbots Bromley will not know of Dave and Maggie Hunt and have some appreciation of their status not only in the folk world but also on its fringes. This Gold Badge Award gives us the opportunity to look back on two varied careers that have, separately and together, brought richness to folk music and community arts over many years. It also provides the opportunity to learn things about the two of them that perhaps were not apparent because you’ve only came across them in one of their guises. In the words of a non-folk song, ‘Let’s start at the very beginning – a very good place to start!’ Like many of us, Dave came to folk music in the 50s via Skiffle, and given its relationship to American folk music there was a natural progression to English folk music and that of its neighbours. The CND marches of his youth also provided a basic repertoire, but early exposure, via work at the Edinburgh Festival, to the likes of Rae and Archie Fisher, Bobby Campbell and Gordie McCulloch, Hamish Imlach, Norman Kennedy, and more started to broaden his knowledge. As an early attendee in 1963 of Wolverhampton’s Giffard Folk Club (he went to its second meeting for the princely entrance donation of 6d – six old pence) he soon graduated to resident status and then on to the committee of a club that was the starting point for all manner of folk activity, as we will see.
    [Show full text]
  • Melodic Identity and Tune Resemblance Karen E. Mcaulay
    1 ABSTRACTS (grouped by session) Session 1: Melodic Identity and Tune Resemblance Karen E. McAulay (Royal Conservatoire of Scotland, Glasgow) ‘All the right notes, but not necessarily in the right order’*: Musical Resemblances over the Border The appealing Northumbrian pipe-tune, “I saw my love come passing by me”, appears in at least three nineteenth century sources, and again in Cock’s Tutor for the Northumbrian Half-Long Bagpipes. The latest two of these are shorter, whilst the first two elaborate the tune with variations. Nonetheless, the resemblances are clear; their kinship is indisputable. However, there are two much earlier appearances of similar tunes in publications north of the border. A century older, each has a different title, and although the shapes of these tunes are undeniably similar, they are certainly neither identical forerunners to one another, nor to “I saw my love”. Indeed, one source was linked in 1925 to a totally different tune. Notwithstanding this earlier identification, I dispute the similarity, and propose that there is some kind of link between “I saw my love” and her earlier Scottish cousins. Whilst the Tune Archive enabled me to trace the iterations of the Border tunes, it failed to flag up these Scottish tunes as potential relatives, partly because their rhythmic notation means the Theme Code index failed to pick up the same strong beats. I propose to demonstrate the methodology I have adopted to attempt to prove my hypothesis. If I’m right, it suggests that before I saw my love come passing by me, she had enjoyed a bit of a shadowy Celtic past.
    [Show full text]