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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. -
Traditional Irish Music Presentation
Traditional Irish Music Topics Covered: 1. Traditional Irish Music Instruments 2 Traditional Irish tunes 3. Music notation & Theory Related to Traditional Irish Music Trad Irish Instruments ● Fiddle ● Bodhrán ● Irish Flute ● Button Accordian ● Tin/Penny Whistle ● Guitar ● Uilleann Pipes ● Mandolin ● Harp ● Bouzouki Fiddle ● A fiddle is the same as a violin. For Irish music, it is tuned the same, low to high string: G, D, A, E. ● The medieval fiddle originated in Europe in ● The term “fiddle” is used the 10th century, which when referring to was relatively square traditional or folk music. shaped and held in the ● The fiddle is one of the arms. primarily used instruments for traditional Irish music and has been used for over 200 years in Ireland. Fiddle (cont.) ● The violin in its current form was first created in the early 16th century (early 1500s) in Northern Italy. ● When fiddlers play traditional Irish music, they ornament the music with slides, cuts (upper grace note), taps (lower grace note), rolls, drones (also known as a double stop), accents, staccato and sometimes trills. ● Irish fiddlers tend to make little use of vibrato, except for slow airs and waltzes, which is also used sparingly. Irish Flute ● Flutes have been played in Ireland for over a thousand years. ● There are two types of flutes: Irish flute and classical flute. ● Irish flute is typically used ● This flute originated when playing Irish music. in England by flautist ● Irish flutes are made of wood Charles Nicholson and have a conical bore, for concert players, giving it an airy tone that is but was adapted by softer than classical flute and Irish flautists as tin whistle. -
The Consequences of Appalachian Representation in Pop Culture
University of Kentucky UKnowledge Theses and Dissertations--English English 2017 STRANGERS WITH CAMERAS: THE CONSEQUENCES OF APPALACHIAN REPRESENTATION IN POP CULTURE Chelsea L. Brislin University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.252 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Brislin, Chelsea L., "STRANGERS WITH CAMERAS: THE CONSEQUENCES OF APPALACHIAN REPRESENTATION IN POP CULTURE" (2017). Theses and Dissertations--English. 59. https://uknowledge.uky.edu/english_etds/59 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
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. -
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 _ -- -"-".,---. -
Bridging the Digital Divide in Rural Appalachia: Internet Usage in the Mountains Jacob J
Informing Science InSITE - “Where Parallels Intersect” June 2003 Bridging the Digital Divide in Rural Appalachia: Internet Usage in the Mountains Jacob J. Podber, Ph.D. Southern Illinois University, Carbondale, IL, USA [email protected] Abstract This project looks at Internet usage within the Melungeon community of Appalachia. Although much has been written on the coal mining communities of Appalachia and on ethnicity within the region, there has been little written on electronic media usage by Appalachian communities, most notably the Melun- geons. The Melungeons are a group who settled in the Appalachian Mountains as early as 1492, of apparent Mediterranean descent. Considered by some to be tri-racial isolates, to a certain extent, Melungeons have been culturally constructed, and largely self-identified. According to the founder of a popular Me- lungeon Web site, the Internet has proven an effective tool in uncovering some of the mysteries and folklore surrounding the Melungeon community. This Web site receives more than 21,000 hits a month from Melungeons or others interested in the group. The Melungeon community, triggered by recent books, films, and video documentaries, has begun to use the Internet to trace their genealogy. Through the use of oral history interviews, this study examines how Melungeons in Appalachia use the Internet to connect to others within their community and to the world at large. Keywords : Internet, media, digital divide, Appalachia, rural, oral history, ethnography, sociology, com- munity Introduction In Rod Carveth and Susan Kretchmer’s paper “The Digital Divide in Western Europe,” (presented at the 2002 International Summer Conference on Communication and Technology) the authors examined how age, income and gender were predictors of the digital divide in Western Europe. -
Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin's Mazurkas by Monika Zaborowsk
Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin’s Mazurkas by Monika Zaborowski BMUS, University of Victoria, 2009 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Monika Zaborowski, 2013 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin’s Mazurkas by Monika Zaborowski BMUS, University of Victoria, 2009 Supervisory Committee Susan Lewis-Hammond, (School of Music) Co-Supervisor Bruce Vogt, (School of Music) Co-Supervisor Michelle Fillion, (School of Music) Departmental Member iii Abstract Supervisory Committee Susan Lewis-Hammond, (School of Music) Co-Supervisor Bruce Vogt, (School of Music) Co-Supervisor Michelle Fillion, (School of Music) Departmental Member One of the major problems faced by performers of Chopin’s mazurkas is recapturing the elements that Chopin drew from Polish folk music. Although scholars from around 1900 exaggerated Chopin’s quotation of Polish folk tunes in their mixed agendas that related ‘Polishness’ to Chopin, many of the rudimentary and more complex elements of Polish folk music are present in his compositions. These elements affect such issues as rhythm and meter, tempo and tempo fluctuation, repetitive motives, undulating melodies, function of I and V harmonies. During his vacations in Szafarnia in the Kujawy region of Central Poland in his late teens, Chopin absorbed aspects of Kujaw performing traditions which served as impulses for his compositions. -
Suggested Repertoire
THE LEINSTER SCHOOL OF RATE YOUR ABILITY REPERTOIRE LIST MUSIC & DRAMA Level 1 Repertoire List Bog Down in the Valley Garryowen Polka Level 2 Repertoire List Maggie in the Woods Planxty Fanny Power Level 3 Repertoire List Jigs Learn to Play Irish Trad Fiddle The Kesh Jig (Tom Morley) The Hag’s Purse Blarney Pilgrim The Merry Blacksmith The Swallowtail Jig Tobin’s Favourite Double Jigs: (two, and three part jigs) The Hag at the Churn I Buried My Wife and Danced on her Grave The Carraroe Jig The Bride’s Favourite Saddle the Pony Rambling Pitchfork The Geese in the Bog (Key of C or D) The Lilting Banshee The Mist Covered Meadow (Junior Crehan Tune) Strike the Gay Harp Trip it Upstairs Slip Jigs: (two, and three part jigs) The Butterfly Éilish Kelly’s Delight Drops of Brandy The Foxhunter’s Deirdre’s Fancy Fig for a Kiss The Snowy Path (Altan) Drops of Spring Water Hornpipes Learn to Play Irish Trad Fiddle Napoleon Crossing the Alps (Tom Morley) The Harvest Home Murphys Hornpipes: (two part tunes) The Boys of Bluehill The Homeruler The Pride of Petravore Cornin’s The Galway Hornpipe Off to Chicago The Harvest Home Slides Slides (Two and three Parts) The Brosna Slides 1&2 Dan O’Keefes The Kerry Slide Merrily Kiss the Quaker Reels Learn to Play Irish Trad Fiddle The Raven’s Wing (Tom Morley) The Maid Behind the Bar Miss Monaghan The Silver Spear The Abbey Reel Castle Kelly Reels: (two part reels) The Crooked Rd to Dublin The Earl’s Chair The Silver Spear The Merry Blacksmith The Morning Star Martin Wynne’s No 1 Paddy Fahy’s No 1 Fr. -
Creating Real and Virtual Communities Among the Melungeons of Appalachia by Jacob J
127 Jacob J. Podber Creating Real and Virtual Communities Among the Melungeons of Appalachia by Jacob J. Podber While the growth of the American “Sunbelt South” has become somewhat of a symbol of United States economic progress, Appalachia is often overlooked. As R. Eller writes in Confronting Appalachian Stereotypes (1999), “Always part of the mythical South, Appalachia continues to languish backstage in the American drama, still dressed, in the popular mind at least, in the garments of backwardness, violence, poverty and hopelessness once associated with the South as a whole. No other region of the United States today plays the role of the ‘other America’ quite so persistently as Appalachia” (p. ix). This article examines how the inception of the Internet into this region of the country has altered people’s lives. Oral history interviews illuminate ways that the Melungeon community, a tri-racial group in rural Appalachia that historically has been perceived as “other,” has begun to use the Internet to define itself, as well as reach out beyond its geographical borders to form an electronic virtual community. The interviews raise the question, does this redefining of Melungeon identity mean that they have actually recreated a larger, electronically—rather than geographically—defined Melungeon community? In the 1960s, Marshall McLuhan predicted that we were at the dawn of a new era of global communications where electronic technology would bring mankind into a “seamless web of kinship and interdependence” (McLuhan, 1964, p. 50). In the 1990s, the rapid expansion of the Internet seemed to suggest that this vision had already been realized. -
Hillbillies Emerge from the Woods: an Unsociological Moment* in John Sayles’S Matewan by Jimmy Dean Smith
123 Jimmy Dean Smith Hillbillies Emerge from the Woods: An Unsociological Moment* in John Sayles’s Matewan by Jimmy Dean Smith John Sayles’s 1987 film Matewan depicts a signal event in labor, social, and Ap- palachian history and thus the viewer feels the gravitational pull and satisfaction of a familiar trope—the myth enbodied in a familiar liberal morality tale. The movie can and does do good, but it resists that impulse at the same time. Good is not all it does, since Sayles takes a worthwhile chance on alienating his core audience. While the aesthetic precepts of social justice often limit the range of approaches an engaged but bourgeois artist can bring to politically and socially charged material, Sayles offers a scenario that toys with liberal good taste and questions whether politics that assumes a pre-fabricated response has the guts to recognize the tantalizing power of subversive mythology. Here are “the bare bones of the history [Sayles] started with” (Sayles 16): In 1920 the minefields in eastern Kentucky and southwestern West Virginia are totally nonunion . The United Mine Workers . target . several counties to be organized. The mine owners . hold Mingo and Logan counties in West Virginia in a military grip—controlling political officials and police, posting armed guards . sending spies into the midst of the miners and creating a “judicious mixture” of native miners, blacks and recent immigrants who they believe can never rise above their basic differences to resist collectively. A strike begins near the town of Matewan . The mayor and chief of police of the town, Cabell Testerman and Sid Hatfield, refuse a bribe offered by agents from the Baldwin-Felts Detective Agency, which functions as the enforcing arm of the state’s coal operators. -
Slate Mountain Ramblers
The Slate Mountain Ramblers The Slate Mountain Ramblers is a family old-time band from Mt. Airy, NC. They formerly lived in Ararat, VA, a small community at the foot of the Blue Ridge Mountains. For many years, Richard Bowman, his wife, Barbara, and their daughter Marsha, have spent weekends playing music. Richard plays fiddle, Barbara the bass and Marsha plays claw-hammer banjo. The band has a winning tradition by winning and placing at fiddler’s conventions they have attended throughout the years. Richard, on fiddle, and Marsha, on claw-hammer banjo, have received many individual awards. The Slate Mountain Ramblers play for shows, dances, family and community gatherings, benefits and compete at fiddler’s conventions throughout the year. They have played internationally at the Austrian Alps Performing Arts Festival and in Gainsborough, England for the Friends of American Old Time Music and Dance Festival. They also lead fiddle, banjo, bass and dance workshops. Richard Bowman is a champion fiddler, winning old-time fiddle competitions at many fiddlers conventions including Galax, Mt. Airy and Fiddler’s Grove. He has been playing the fiddle for about 45 years, the last 35 plus as leader of the Slate Mountain Ramblers. Learning from local old-time fiddlers, Richard’s long-bow style is easily recognizable. At fiddler’s conventions, he can be found with fellow musicians in a jam session. Other weekends finds Richard and the band playing for square dances where everyone enjoys flat footing or two-stepping to a pile of fiddle tunes. Marsha Bowman Todd is a hard driving clawhammer banjo player. -
Old Time Music at Clarence Ashley's”--Doc Watson, Clarence Ashley, Et.Al
“Old Time Music at Clarence Ashley's”--Doc Watson, Clarence Ashley, et.al. (1960-1962) Added to the National Registry: 2012 Essay by Steve Kaufman (guest post)* Album cover In 1960, Smithsonian historian Ralph Rinzler convinced the virtually unknown Clarence “Tom” Ashley, Doc Watson, Gather Carlton, Jack Johnson, Fred Price and Clint Howard to walk into the studio and record their mountain heritage music. Ralph Rinzler met Clarence at an Old Time Fiddler’s Convention. Ashley hadn’t played banjo for many years, but Ralph convinced him to pick it back up again and record it. Doc Watson didn’t own an acoustic guitar at the time. He had been playing in a rockabilly band playing square dances and the like. Doc honed his instrumental skills playing fiddle tunes on the guitar. Doc told me that the square dance bands he played in did not have a fiddle player so he played the tune as the fiddle would. This combination of Clarence on banjo and Doc on guitar and banjo, along with Fred Price and Gaither Carlton on fiddle, make an old-time band that is authentic and powerful. Seventeen songs make up this collection, of which T. Clarence Ashley wrote nine. It seems odd that he would credit the song as being by T.C. Ashley. He would credit his singing as Tom Ashley. Doc would credit him as Clarence throughout Doc’s long career. I’ve heard Doc mention Clarence on many occasions. These are the original tracks to this classic “Old Time” recording. It was recorded in Shouns, Tennessee; Saltville, Virginia; and Deep Gap, North Carolina.