Final-Music-Schedule.Pdf
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
The Canadian Clarinet Works Written for James Campbell
THE CANADIAN CLARINET WORKS WRITTEN FOR JAMES CAMPBELL by Laura Chalmers Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree, Doctor of Music Doctoral Committee __________________________________________ Eli Eban, Research Director and Chair __________________________________________ James Campbell __________________________________________ Kathleen McLean __________________________________________ Peter Miksza September 29, 2020 ii Acknowledgements I would like to express my gratitude to the following people, without whom this document would not have been completed: To Prof. Campbell, Allan Gilliland, Phil Nimmons, Timothy Corlis, and Jodi Baker Contin, who gave their time and shared their recollections with me. To my wonderful friends, Emory Rosenow, Laura Kellogg, Mark Wallace, and Lilly Haley- Corbin, who not only read through this entire document to correct mistakes, but who also encouraged me and bolstered me as I wrote this paper. To my family, Mom, Marcus, and Leisha, who have always supported me and continue to do so through my Doctorate. Finally, to my husband, Jacob Darrow. This is as much his success as it is mine. iii Table of Contents Acknowledgements .................................................................................................................................... -
What Is Folk Music? Dave Spalding's Discussion Paper
WHAT IS FOLK MUSIC? Throughout the weekend of the Society’s 1987 Annual General Meeting in Quebec City, there was considerable discussion among the Directors o f major policy concerns within the CFMS. This discussion returned again and again to how (or even, whether) folk music should be defined. Accordingly, a committee was formed to look into the question of defining folk music, particularly with regard to the Society’s policies. Due to many exigencies, the committee was unable to meet face-to-face and a a whole during the year, but fortunately David Spalding prepared and distributed a discussion paper, to which a number of the committee's members responded in writing. It was decided to publish both Spalding’s paper and the responses in the Journal, which because of the length and nature of the submissions seemed the most appropriate vehicle for sharing these concerns. When the committee was originally formed, it was emphasized that issues surrounding the definition of folk music were not temporary but rather ongoing for the Society, and that some clear direction was desirable as a basis for framing the Society’s policies. In this spirit, the following discussion paper by David Spalding and the three responses (by Anne Lederman, Ken Persson, and Jay Rahn) are offered to our readership. DAVE SPALDING’S DISCUSSION PAPER Introduction At the Quebec meeting, the board spent a lot of time discussing “what is folk music?” Some members felt that to develop a definition that could be widely accepted by the society would help in dealing with the prob lems of the society; others felt that development of a definition was not either possible or of practical assistance, but that it was an interesting question and that CFMS should continue to provide a forum in which such questions could be discussed. -
OCR Document
Books for Children Edith Fowke My best known children's book is Sallv Go Round the Sun: 300 Songs. Rhvmes. and Games of Canadian Children (Toronto: McClelland & Stewart; New York: Doubleday, 1969). This is a large-size volume beautifully illustrated by Carlos Marchiori. It won the Canadian Association of Children's Librarians ' Award for the best book of the year, and it continues popular. All the items were from oral tradition, collected in 1958-1964 from Canadian children plus a few from adult friends who remembered them from their youth. I started collecting with some of the children on my own street and then began going to various Toronto schools where I arranged to tape the students in Grade 3 classes, which I found the best age-group for this type of material. I asked them for the games and rhymes they knew, and had no trouble getting a wide variety. Children's lore is probably the easiest kind of folklore to collect today. When I had assembled a number of tapes, I transcribed them, picked the best versions of the various items, arranged them in categories, and cited the sources and references to other versions. I was lucky in the artist whose delightful color illustrations made the book very attractive. He used two unusual techniques: many of his pictures included fingerprints, others looked like lace. This book is still in print, still popular, and still representa- tive of the children's lore common in Canada. Students in my introductory folklore classes at York University collected children's rhymes and games as an annual assignment during the seventies and eighties, and found very few that were not in Sally. -
Fifty Years of Historical Geography in Canada 5
Fifty Years of Historical Geography in Canada 5 ‘Tracing One Warm Line Through a Land so Wide and Savage’. Fifty Years of Historical Geography in Canada Graeme Wynn Department of Geography University of British Columbia ABSTRACT: In this essay I enlist Canadian folk singer Stan Rogers to provide a title and a structure for inevitably personal reflections on the scholarly contributions of Canadian historical geographers and the changing fortunes of historical geography in their country since the 1960s. From the “Northwest Passage” (“one warm line…”) to “Make and Break Harbour” (where “the boats are so few”) this is a tale of considerable achievement, but one that, may lack a particularly happy or optimistic ending unless we attend to “The Field Behind the Plow” (and “Put another season’s promise in the ground”). Because this story, however told, bears the marks of influence from the United Kingdom, the United States and elsewhere, this essay speaks to developments beyond the territory of Canada and the geographical interests of those who live within its borders. Like several of Rogers’ songs, it might also be considered something of a parable. hen Robert Wilson invited me to give the fourth HGSG distinguished lecture he observed: “You may speak on whatever topic you like. It could be about some aspect Wof your current research or about the state of historical geography (or both).” In the end I decided to do both – and more. To structure the inevitable jumble spilling from this great portmanteau I make two moves. First I focus my comments on historical geography in Canada since the late 1960s. -
Sunset Side of Cape Breton Island
2014 ACTIVITY 2014 ActivityGUIDE Guide Page 1 SUNSET of Cape Breton SIDE • Summer Festivals • Scottish Dances • Kayaking • Hiking Trails • Horse Racing • Golf • Camping • Museums • Art Galleries • Great Food • Accommodations • Outdoor Concerts and more... WELCOME HOME www.invernesscounty.ca Page 2 2014 Activity Guide A must see during your visit to Discover Cape Breton Craft our Island is the Cape Breton Centre for Craft & Design in Art and craft often mirror the downtown Sydney. The stunning heritage, lifestyle and geography Gallery Shop contains the work of the region where artists live of over 70 Cape Breton artisans. and work. Nowhere is this more Hundreds of unique and one- evident than on Cape Breton of-a-kind items are on display Island with its stunning landscapes, and available for purchase. The rich history and traditions that Centre also hosts exhibitions have fostered a dynamic creativity and a variety of craft workshops Visual Artist Kenny Boone through the year. among its artisans. Fabric Dyeing by the Sea - Ann Schroeder Discover the connections between Cape Breton’s culture and Craft has a celebrated history geography and the work of our artisans by taking to the road with on our Island and, in many the Cape Breton Artisan Trail Map or download the App. Both will communities, craft remains set you on a trail of discovery and beauty with good measures of a living tradition among culture, history, adventure and charm. contemporary artisans who honour and celebrate both Artful surprises can be found tucked in the nooks and crannies form and function in endlessly throughout the Island: Raku potters on the North Shore, visual artists creative ways. -
Chapters in Canadian Popular Music
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Ilona Šoukalová Chapters in Canadian Popular Music Diplomová práce Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Olomouc 2015 Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky Chapters in Canadian Popular Music (Diplomová práce) Autor: Ilona Šoukalová Studijní obor: Anglická filologie Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Počet stran: 72 Počet znaků: 138 919 Olomouc 2015 Prohlašuji, že jsem diplomovou práci na téma "Chapters in Canadian Popular Music" vypracovala samostatně pod odborným dohledem vedoucího práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne 3.5.2015 Ilona Šoukalová Děkuji vedoucímu mé diplomové práce panu Mgr. Jiřímu Flajšarovi, Ph.D. za odborné vedení práce, poskytování rad a materiálových podkladů k práci. Poděkování patří také pracovníkům Ústřední knihovny Univerzity Palackého v Olomouci za pomoc při obstarávání pramenů a literatury nezbytné k vypracování diplomové práce. Děkuji také své rodině a kamarádům za veškerou podporu v době mého studia. Abstract The diploma thesis deals with the emergence of Canadian popular music and the development of music genres that enjoyed the greatest popularity in Canada. A significant part of the thesis is devoted to an investigation of conditions connected to the relation of Canadian music and Canadian sense of identity and uniqueness. Further, an account of Canadian radio broadcasting and induction of regulating acts which influenced music production in Canada in the second half of the twentieth century are given. Moreover, the effectiveness and contributions of these regulating acts are summarized and evaluated. Last but not least, the main characteristics of the music style of a female singer songwriter Joni Mitchell are examined. -
The Maple Leaf Dog
“There’s some played harder, and there’s some played smarter, but nobody played like you.” The Life and Times of Stringband By Gary Cristall Gary Cristall wrote this essay in 2002 as the liner notes – possibly the world’s longest – for the Indispensable Stringband box set. Someone asked me if I had read them before publication. I said I had and I thought they were terrific. He was surprised. “You don’t come off very well,” he said. “I thought I did,” I said. To my ear, Gary’s account rings remarkably true. - Bob Bossin IF YOU HAD WANDERED through downtown Toronto on a summer’s evening in 1972, you might have wound up on the Yonge Street mall. A half dozen blocks of Toronto’s main thoroughfare had been closed to traffic that summer and turned into a cross between a European boulevard and an Arab souk. There were hippie jewellers and sellers of tie-dyed T-shirts. There was also a profusion of buskers. As you walked along, one quartet might have caught your ear. They were your typical folk band–banjo, guitar, fiddle, and washtub bass–played by three long-haired young men and a comely young woman with a beguiling voice. The banjo player exuded energy and chutzpah; the lanky fiddler sawed his violin with passion and skill. A dog of undetermined breed snoozed at their feet. They would play two or three hot tunes to gather a crowd and then the bass player would flip over his washtub to reveal the legend “Fight Muzak” painted on the bottom. -
BRT Past Schedule 2011
Join Our Mailing List! 2011 Past Schedule current schedule 2015 past schedule 2014 past schedule 2013 past schedule 2012 past schedule 2010 past schedule 2009 past schedule 2008 past schedule JANUARY THANK YOU! Despite the still-challenging economy, Blackstone River Theatre saw more than 6,100 audience members attend nearly 100 concerts, dances, classes and private functions in 2010! September marked the 10-year anniversary of the reopening of Blackstone River Theatre after more than four years of volunteer renovation efforts from July, 1996, to September, 2000. Since reopening, BRT has now presented more than 1,050 events in front of more than 67,000 audience members! Look for details about another six-week round of fiddle classes for beginner, continuing beginner/intermediate, advanced intermediate and advanced students with Cathy Clasper-Torch beginning Jan. 25 and Jan. 26. Look for details about six-week classes in beginner mountain dulcimer and clogging with Aubrey Atwater starting Jan. 13. Look for details about six-week classes in beginner mandolin and also playing tunes on mandolin with Ben Pearce starting Jan. 24. There will be an exhibit called "Through the Lens: An Exploration in Digital Photography" by Kristin Elliott-Stebenne and Denise Gregoire in BRT's Art Gallery January 14 through Feb. 19. There will be an exhibit opening Saturday, Jan. 15 from 6-7:30 p.m. NOTE: If a show at BRT has an advance price & a day-of-show price it means: If you pre-pay OR call in your reservation any time before the show date, you get the advance price. -
A Framework for the Return to Music Classes in 2020/2021
A Framework for The Return to Music Classes in 2020/2021 1 PRODUCED BY THE OMEA LAST UPDATED August 7, 2020 We acknowledge that there may be omissions and that information will be changing throughout the coming months. This is a living document and will be updated as advisories from the public health officials are altered to reflect the evolving situation. The guidelines outlined in this document are current as of the latest updated date. www.omea.on.ca A Framework for The Return to Music Classes in 2020/2021 Version History Date Version # Action June 4, 2020 1 Initial Document June 15, 2020 2 Revisions June 26, 2020 3 Omissions August 7, 2020 4* Revisions and Omissions *Version 4, August 7, 2020, replaces all previous versions of the document. Thank you to the Canadian Music Industry Education Committee for their financial support of the French translation of version 4 of this document. 2 PRODUCED BY THE OMEA LAST UPDATED August 7, 2020 We acknowledge that there may be omissions and that information will be changing throughout the coming months. This is a living document and will be updated as advisories from the public health officials are altered to reflect the evolving situation. The guidelines outlined in this document are current as of the latest updated date. www.omea.on.ca Contents Preamble ············································································································································································· 5 Music Education Advocacy Statement ······················································································································ -
Ethnic Minorities
Ethnic Minorities As with the music of First Nations, studying the mu- issue of Canadian Folk Music Journal.12 Four years sic of ethnic minorities can pose a challenge because later Bohdan Medwidsky contributed “A Ukrainian of language difficulties and cultural differences. Assassination Ballad in Canada” to the same periodi- However, a considerable amount of research, study, cal.13 And in 2009 Marcia Ostashewski’s “A Fully- and analysis has been brought to bear on the musics Fledged and Finely Functioning Fiddle: Humour and of a wide variety of ethnic communities in Canada. ‘The Uke-Cree Fiddler’” was included in an issue of We will select from the scholarly literature on certain Canadian Folk Music.14 Also of interest is her earlier of those communities, including studies of Eastern “Identity Politics and Western Canadian Ukrainian European and Asian musical traditions in Canada. Musics: Globalizing the Local or Localizing the We will also explore the multicultural mix of ethnic Global?”15 music in Canada’s largest cities. For the music of Polish-Canadians, the first place To start with, one needs an overview of multicul- to go is John Michael Glofcheskie’s National Muse- turalism and the varieties of traditional music found um publication, Folk Music of Canada’s Oldest Pol- among Canada’s ethnic minorities across the country. ish Community.16 Louise Wrazen is an academic who Two articles in Canadian Folk Music, one by Ron has thoroughly studied the music of the Polish com- Duffy titled “Musical Mosaic”1 and an earlier discus- munity in Toronto, and her article in the 1983 issue sion by Phil Thomas titled “Multiculturalism in Mu- Canadian Folk Music Journal provides a revealing sic”,2 provide such an introduction, especially when ethnomusicological approach to an ethnic minority. -
March 30, 1974
v His newNominated single MaleGARY Country MtCK Singer of the Year. DirlAvWeekly written Knowingby Dick Damron That is breaking She's all Leavingacross Canada. Two Juno nominees and a great song makes a hit record. A farewell bash for Crowbar MarchVolume50 CENTS 30, 21 1974 No. 7 wallsofchillwinterSunday, Dundas -your of day that March -bloodand in giant Toronto Spadina. 17 coldeducational was -- just exceptdull,Inside like wet emporium the forany and thehallowed other dirtycorner - critics.aPARTYtheknown genuine blood Billedas - theofhappening MOSTas Victoryordinary a CROWBAR cold-blooded -Burlesque enoughpasserby RENT to there warmwouldn'tToronto was ticketuntilusuallytoknow the you anditbald goesfrom approach theheaded anyon heavy atother degeneratestheto "on purchase shakeVictory. a high" -your Thatshowyour eyes -fanny is, that you yourAftertonightup and waypaying downMac!". through three and asaysbucks lobby "no and that strippers elbowing resembles (seenroom.facesweeta popcorn with betterWhatbutter Kelly commune daysa aroma) stage Jay's piano) setting youBad(and an come Manors that ornate- a grand wasn'tface gasliving to -cuma there'ssaryelectricamps,tion theto instrumentsDave tearlampbanks theMarsden and of roof speakers aand juke off(minus whatever the box and Victory.his - notpiles isDave neces-to of Andmen- waitingforMickie makingMONSTER habit)toCROWBAR get usHOOKED telling into"freeze Kelly us continuedour how Jay's balls sorry TELLfront off"on he roompage is ON 14 LastLAURA A Minute FEELING ProductionsBOBBY Iand LOVE Kelly -
UNIVERSAL MUSIC • Jimmy Rankin – Back Road Paradise • Enrique
Jimmy Rankin – Back Road Paradise Enrique Iglesias – Sex And Love Avicii – True: Avicii By Avicii New Releases From Classics And Jazz Inside!!! And more… UNI14-11 UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: Stompin’ Tom Connors / Unreleased: Songs From The Vault Collection Volume 1 Cat. #: 0253777712 Price Code: SP Order Due: March 6, 2014 Release Date: April 1, 2014 File: Country Genre Code: 16 Box Lot: 25 Tracks / not final sequence 6 02537 77712 9 Tom and Guitar: 12 songs 10. I'll Sail My Ship Alone 1. Blue Ranger 11. When My Blue Moon Turns to Gold 2. Rattlin' Cannonball 12. I Overlooked an Orchid 3. Turkey in The straw ( Instrumental ) 4. John B. Sails Tom Originals with Band: 5. Truck Drivin' Man 1. Cross Canada, aka C.A.N.A.D.A 6. Wild Side of Life 2. My Stompin' Grounds 7. Pawn Shop in Pittsburgh, aka, Pittsburgh 3. Movin' In From Montreal By Train Pennsylvania 4. Flyin' C.P.R. 8. Nobody's Child 5. Ode for the Road 9. Darktown Strutter's Ball This is the Premier Release in an upcoming series of Unreleased Material by Stompin' Tom Connors! In 2011, Tom decided after what ended up being his final Concert Tour, that he would record another 10 album set with a lot of old songs that he sang when he first started out performing in the 50's and 60's.This was back when he could sing, from memory, over 2500 songs in his repertoire and long before he wrote many of his own hits we all know today.