Orfeo” in Celtic Music and Literature
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Savannah Scottish Games & Highland Gathering
47th ANNUAL CHARLESTON SCOTTISH GAMES-USSE-0424 November 2, 2019 Boone Hall Plantation, Mount Pleasant, SC Judge: Fiona Connell Piper: Josh Adams 1. Highland Dance Competition will conform to SOBHD standards. The adjudicator’s decision is final. 2. Pre-Premier will be divided according to entries received. Medals and trophies will be awarded. Medals only in Primary. 3. Premier age groups will be divided according to entries received. Cash prizes will be awarded as follows: Group 1 Awards 1st $25.00, 2nd $15.00, 3rd $10.00, 4th $5.00 Group 2 Awards 1st $30.00, 2nd $20.00, 3rd $15.00, 4th $8.00 Group 3 Awards 1st $50.00, 2nd $40.00, 3rd $30.00, 4th $15.00 4. Trophies will be awarded in each group. Most Promising Beginner and Most Promising Novice 5. Dancer of the Day: 4 step Fling will be danced by Premier dancer who placed 1st in any dance. Primary, Beginner and Novice Registration: Saturday, November 2, 2019, 9:00 AM- Competition to begin at 9:30 AM Beginner Steps Novice Steps Primary Steps 1. Highland Fling 4 5. Highland Fling 4 9. 16 Pas de Basque 2. Sword Dance 2&1 6. Sword Dance 2&1 10. 6 Pas de Basque & 4 High Cuts 3. Seann Triubhas 3&1 7. Seann Triubhas 3&1 11. Highland Fling 4 4. 1/2 Tulloch 8. 1/2 Tulloch 12. Sword Dance 2&1 Intermediate and Premier Registration: Saturday, November 2, 2019, 12:30 PM- Competition to begin at 1:00 PM Intermediate Premier 15 Jig 3&1 20 Hornpipe 4 16 Hornpipe 4 21 Jig 3&1 17 Highland Fling 4 22. -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
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. -
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. -
The Songs of the Beggar's Opera
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 The onS gs of The Beggar's Opera Carolyn Anfinson Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Anfinson, Carolyn, "The onS gs of The Beggar's Opera" (1966). Masters Theses. 4265. https://thekeep.eiu.edu/theses/4265 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institutionts library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because Date Author THE SONGS OF THE BEGGAR'S OPERA (TITLE) BY Carolyn Anfinson THESIS SUBMIITTD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF M.S. -
The Ballads of the Southern Mountains and the Escape from Old Europe
B AR B ARA C HING Happily Ever After in the Marketplace: The Ballads of the Southern Mountains and the Escape from Old Europe Between 1882 and 1898, Harvard English Professor Francis J. Child published The English and Scottish Popular Ballads, a five volume col- lection of ballad lyrics that he believed to pre-date the printing press. While ballad collections had been published before, the scope and pur- ported antiquity of Child’s project captured the public imagination; within a decade, folklorists and amateur folk song collectors excitedly reported finding versions of the ballads in the Appalachians. Many enthused about the ‘purity’ of their discoveries – due to the supposed isolation of the British immigrants from the corrupting influences of modernization. When Englishman Cecil Sharp visited the mountains in search of English ballads, he described the people he encountered as “just English peasant folk [who] do not seem to me to have taken on any distinctive American traits” (cited in Whisnant 116). Even during the mid-century folk revival, Kentuckian Jean Thomas, founder of the American Folk Song Festival, wrote in the liner notes to a 1960 Folk- ways album featuring highlights from the festival that at the close of the Elizabethan era, English, Scotch, and Scotch Irish wearied of the tyranny of their kings and spurred by undaunted courage and love of inde- pendence they braved the perils of uncharted seas to seek freedom in a new world. Some tarried in the colonies but the braver, bolder, more venturesome of spirit pressed deep into the Appalachians bringing with them – hope in their hearts, song on their lips – the song their Anglo-Saxon forbears had gathered from the wander- ing minstrels of Shakespeare’s time. -
INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, Day Department, 2016) Assignments for Self-Study (25 Points)
The elective discipline «INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, day department, 2016) Assignments for Self-Study (25 points) Task: Select one British folk ballad from the list below, write your name, perform your individual scientific research paper in writing according to the given scheme and hand your work in to the teacher: Titles of British Folk Ballads Students’ Surnames 1. № 58: “Sir Patrick Spens” 2. № 13: “Edward” 3. № 84: “Bonny Barbara Allen” 4. № 12: “Lord Randal” 5. № 169:“Johnie Armstrong” 6. № 243: “James Harris” / “The Daemon Lover” 7. № 173: “Mary Hamilton” 8. № 94: “Young Waters” 9. № 73:“Lord Thomas and Annet” 10. № 95:“The Maid Freed from Gallows” 11. № 162: “The Hunting of the Cheviot” 12. № 157 “Gude Wallace” 13. № 161: “The Battle of Otterburn” 14. № 54: “The Cherry-Tree Carol” 15. № 55: “The Carnal and the Crane” 16. № 65: “Lady Maisry” 17. № 77: “Sweet William's Ghost” 18. № 185: “Dick o the Cow” 19. № 186: “Kinmont Willie” 20. № 187: “Jock o the Side” 21. №192: “The Lochmaben Harper” 22. № 210: “Bonnie James Campbell” 23. № 37 “Thomas The Rhymer” 24. № 178: “Captain Car, or, Edom o Gordon” 25. № 275: “Get Up and Bar the Door” 26. № 278: “The Farmer's Curst Wife” 27. № 279: “The Jolly Beggar” 28. № 167: “Sir Andrew Barton” 29. № 286: “The Sweet Trinity” / “The Golden Vanity” 30. № 1: “Riddles Wisely Expounded” 31. № 31: “The Marriage of Sir Gawain” 32. № 154: “A True Tale of Robin Hood” N.B. You can find the text of the selected British folk ballad in the five-volume edition “The English and Scottish Popular Ballads: five volumes / [edited by Francis James Child]. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition”
CFA MU 755, Boston University Steve Eulberg The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition” In a nation composed dominantly of immigrants, or people who are not “from” here, one can expect the cultural heritage in general, and the musical heritage in particular, to be based on the many strands of immigrant tradition. At some point, however, that which was brought from the old country begins to “belong” to the children of the immigrants, who pass this heritage on to their children. These strands are the woof that is woven into the warp of the new land—a process that continues until the tradition rightly belongs to the new setting as well. This is the case for the Applachian Mountain (or fretted, lap, plucked, strummed1) dulcimer. This instrument has been called by some “The Original American Folk Instrument.”2 Because other instruments have also laid claim to this appellation (most notably the banjo), this paper will explore whether or not it deserves such a name by describing the dulcimer, exploring its antecedent instruments, or “cousins”, tracing its construction and use by some people associated with the dulcimer, and examining samples of the music played on the instrument from 3 distinct periods of its use in the 20th century. What is the dulcimer? The Appalachian Mountain Dulcimer3 consists of a diatonic fretboard which is mounted on top of a soundbox. It is generally strung with three or four strings arranged in a pattern of three (with one pair of strings doubled and close together, to be played as one.) Its strings are strummed or plucked either with the fingers or a plectrum while the other hand is fretting the strings at different frets using either fingers or a wooden stick called a “noter.” The shape of the body or soundbox varies from hourglass, boat, diamond and lozenge, to teardrop and rectangular box style. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Desire for Perpetuation: Fairy Writing and Re-creation of National Identity in the Narratives of Walter Scott, John Black, James Hogg and Andrew Lang Yuki Yoshino A Thesis Submitted to The University of Edinburgh for the Degree of Doctor of Philosophy Department of English Literature 2013 Abstract This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang. -
Gender Representations in “The Ballad of Tam Lin”
International Journal of Culture and History, Vol. 3, No. 3, September 2017 Gender Representations in “The Ballad of Tam Lin” Evgeniia Ermakova and Sabina Likhareva etc. It is due to being rooted in the national mentality that Abstract—The present paper addresses a highly relevant gender representations are so fixed in the cultural memory of issue of gender representation in literature that generates much the nation. academic interest as well as practical implications. The material for analysis is the text of the medieval ballad “Tam Lin” as published in the “Child Ballads”. Investigation methodology includes semantic, linguocultural, sociocultural and literary II. MATERIAL AND METHODOLOGY analysis. The findings have been categorized to show how a man As well as myths and fairy-tales, ballads, in spite of and a woman are perceived and portrayed in the English belonging to a plot-driven genre, represent complex culture. The paper would be of interest for scholars and multilevel structure full of implicit cultural senses. The practitioners dealing with gender issues, English and culture studies. material of the present study is comprised by text version A (Robert Burns’ version) of “The Ballad of Tam Lin”, taken Index Terms—Culture, gender, representation, semantics. from “The English and Scottish Popular Ballads, 1882-1898” edited by F. J. Child, otherwise known as “Child Ballads” [4], although the first mention of the plot dates back to as early as I. INTRODUCTION 1549. It can be addressed as a monument of both English and Ballads are poetical narratives frequently having medieval Scottish culture; while the setting, characters and main plot legendary background and performed to music. -
Introduction
Introduction anne grImes had a gift for collecting songs—partly because she knew how and where to find them. “Everybody thinks you find folk music in the hills; you don’t . it’s in people’s heads,” she told a reporter for the Columbus Citizen- Journal in 1971 before performing at Governor John Gilligan’s Inau- gural Gala at the Ohio Theater in Columbus, Ohio. Born into a pio- neer Ohio family in which music had been important over the gen- erations, Anne Grimes felt a kin- ship with the traditional singers she discovered. As she told the reporter: “In the folk music field, the technical term is ‘informants’; I prefer to think of the people as contributors.” During the height of her col- lecting and performing career in the 1950s and early 1960s, Anne Grimes sang several times at the The cover of the Columbus Dispatch Sunday Magazine, annual National Folk Festival February 17, 1952: Anne Grimes and recorded on Folkways. She with her five children—Mindy also became an expert in the lore (2), Mary (4), Jennifer (6), Sara and techniques of the plucked (10), and Steve (12)—in front or lap dulcimer (also referred to of the Jonathan Alder cabin as the mountain or Appalachian west of Columbus. Photo by Dan F. Prugh courtesy of the dulcimer), and the Anne Grimes Columbus Dispatch collection of these rare folk in- struments—now housed at the Smithsonian Institution—ranks among the nation’s finest. But much of her time and energy was devoted to collecting hundreds of songs and ballads that she then performed in concert-lectures with the general theme of Ohio history through song.