DOCSLIB.ORG

Sheila Stewart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sheila Stewart Sheila, Belle and Jane Turriff. Photo: Alistair Chafer “…Where would Sheila Stewart the ballad singing Scottish Traveller, Traditional Singer and Storyteller tradition in Scotland 1935 - 2014 be today without the unbroken continuity by Pete Shepheard of tradition passed on to us by Sheila and other members of Scotland’s ancient Traveller community…” “…one of Scotland’s finest traditional singers, inheriting The family was first brought to When berry time comes roond look for the Stewarts who rented Traveller lore and balladry from all light by Blairgowrie journalist each year, Blair’s population’s berry fields at the Standing Stones sides of her family, and learning a rich oral culture Maurice Fleming in 1954 following swellin, at Essendy. So he cycled up to songs from her mother, some of a chance meeting with folklorist There’s every kind o picker there Essendy and it was Sheila Stewart the most interesting, and oldest, of songs, ballads Hamish Henderson in Edinburgh. and every kind o dwellin; he met (just 18 years old at the songs in her repertoire came from Discovering that Hamish had There’s tents and huts and time) who immediately said she Belle’s brother, her uncle, Donald caravans, there’s bothies and and folk tales that recently been appointed as a knew the song and told Maurice MacGregor, who carefully taught there’s bivvies, research fellow at the School it had been written by her mother her the ballads. Donald could had survived as And shelters made wi tattie-bags Belle. Maurice reported the of Scottish Studies, Maurice neither read nor write, but was an and dug-outs made wi divvies. news back to Hamish and, with enthused about the weekly BBC exacting teacher when it came to a living tradition recording equipment brought from Radio Programme, As I Roved songs and he would not let her There’s travellers fae the Western Edinburgh, the rich repertoire of Out, presented by Peter Kennedy sing a ballad in front of the family among the Scottish Isles, fae Arran, Mull and Skye, songs was soon filling up the reels with field recordings of English until she had it the way he wanted. Fae Harris, Lewis and Kyles o of tape. The recordings made that What became Sheila’s most traditional singers, and wondered Bute, they come their luck to try; Travellers…” June and July and the following famous ballad was one of those whether a similar programme Fae Inverness and Aberdeen, fae summer of 1955 were then issued taught her by Donald – The Twa could be produced in Scotland. Stornoway and Wick, on an LP, Songs And Music From Brothers: Hamish had already discovered Aa flock to Blair at the berry time, The Berryfields Of Blair (Prestige the wealth of traditional balladry the straws and rasps to pick. International 25016) produced by Two pretty boys were going tae the held by the Scottish Traveller Kenneth Goldstein in the USA. In school, community and, a year earlier in The full song can be heard as the sleeve notes Hamish makes And one evening comin home; 1953, Hamish had been led to sung by Belle at the Kinross what has become a famous quote Photo courtesy of Topic Records Photo courtesy of Topic Said William tae John, “Can you the door of Jeannie Robertson Festival in 1972 (recorded by about the rich tradition of the throw a stone, in Aberdeen to discover a singer Peter R Cooke for the School of Scottish Travellers that “recording Or can you play at a ball, who exceeded all his expectations Scottish Studies) on the Tobar an in the berryfields was like holding Or can you play at a ball?” and who he considered as the Dualchais / Kist O Riches website. a tin-can under the Niagara Falls.” Sheila Stewart, who died in on the folk scene in Scotland and her songs and Scottish ballads. most outstanding discovery of Said William tae John, “I cannot December aged 79, was one England, in Europe and the United In 1982, Sheila was chosen the century. For Hamish, who When Hamish and Maurice met Sheila was five when she learnt in Edinburgh, it was already throw a stone, of Scotland’s finest traditional States. to represent underprivileged had been brought up in the her first song and her singing June and the Travellers would Or little can I play at a ball; singers, inheriting a rich oral communities in Scotland and Perthshire glens, Blairgowrie was became a regular feature of be gathering in Blairgowrie so, family gatherings. When Maurice But if you come tae yon merry culture of songs, ballads and In 1976, Sheila was invited to sing for Pope John Paul II in home territory. He had recently folk tales that had survived as a discovering Maurice Fleming’s Fleming first visited the family he green woods perform at the United States front of more than 350,000 recorded a song, The Berryfields living tradition among the Scottish enthusiasm and that he was a remembered Sheila had her own I’ll try you a wrestling fall, bicentennial celebrations in people in Bellahouston Park, Of Blair, from John MacDonald, Travellers. Last of the famous Blairgowrie man, he gave Maurice notebook of songs and that she I’ll try you a wrestling fall.” Washington, DC, where she Glasgow, where her performance the ‘Singing Molecatcher’ of Perthshire Traveller family, The a list of songs to look for and, in was quite clear which songs were met the Queen and the Duke of Ewan MacColl’s song about Pitgaveny in Morayshire – a Stewarts of Blair, her father Alex particular, suggested he try to the ones she sang and which So they come doun tae yon merry of Edinburgh who expressed Travellers, The Moving-On Song, Stewart, piper and storyteller, song that celebrated the annual discover who had composed the were those sung by her mother green woods, disappointment at not hearing her was a triumph. The next day, the matriarch Belle Stewart and her berrypicking when Travellers from Berryfields Of Blair song. and sister Cathie. It was only after Beneath the spreading moon; sing. Several hours later, she was newspaper reported that only two two daughters, Sheila and Cathie, far and wide gathered in the area both her sister and her mother And the little penknife slipped out whisked off to the White House things silenced the crowd – the were welcomed by the folk revival to pick the harvest of strawberries Returning the next day to Blair, Belle had passed on that she of William’s pocket, of the 1960s and the family where President Gerald Ford, the arrival of the Pope and Sheila’s and raspberries. In the words of Maurice asked among the added some of ‘their’ songs to her And gave John his deadly wound, became well-known performers Queen and Prince Philip enjoyed singing. the song: Travellers and was told he should repertoire. Although steeped in And gave John his deadly wound. The Living Tradition - Page 10 The Living Tradition - Page 11 The full ballad can be heard sung by Sheila (as recorded by Peter R Cooke at Blairgowrie Festival in 1970) on the Tobar an Dualchais / Kist O Riches website. A notable characteristic of Sheila’s style was what the “…only two things family described as “having the conyach” (from the Gaelic silenced the crowd caoineach, weeping or keening) – the gift for conveying the – the arrival of the emotional feeling of a ballad that Hamish compared to the Pope and Sheila’s “duende” of Andalucian flamenco song – which was evident in her singing…” execution of many of her songs and notably in the ballad of The Twa Brothers taught by her uncle, Donald. Sheila was born on 7 July 1935 in Subscribe to the leading a stable behind the Angus Hotel at Blairgowrie, Perthshire, after Records Photo courtesy of Topic an argument between her mother and grandmother had rendered her parents homeless. Her mother Traditional Music magazine Belle had been born in a tent musicologists from the USA and festival continuing for a further four without the unbroken continuity of beside the Tay and the family was by young folk singers from far and years before moving to Kinross. tradition passed on to us by Sheila NEWS, REVIEWS AND INFORMATION FROM THE WORLD OF TRADITIONAL MUSIC NEWS, REVIEWS AND INFORMATION FROM THE WORLD OF TRADITIONAL MUSIC accustomed to the Traveller way wide. I remember one occasion and other members of Scotland’s UK £3.25 • EUROPE €5 • USA $7 • CANADA $7 UK £3.25 • EUROPE €5 • USA $7 • CANADA $7 of life, surviving through hawking, NEWS, REVIEWS AND INFORMATION FROM THE WORLD OF TRADITIONAL MUSIC NEWS, REVIEWS AND INFORMATION FROM THE WORLD OF TRADITIONAL MUSIC in 1963 when visiting Alex and Sheila’s mother Belle, who died ancient Traveller community. I UK £3.25 • EUROPE €5 • USA $7 • CANADA $7 UK £3.25 • EUROPE €5 • USA $7 • CANADA $7 besom-making and seasonal Belle’s house we were welcomed in 1997, was awarded the British well remember how she won the farm work. Her father Alex dealt “ben the hoose” and soon there Empire Medal for services to traditional singing cup at the very ISSUE 102 ISSUE 104 in scrap metal and took seasonal was a gathering with Sheila and traditional music and Sheila first TMSA competitions held ISSUE 103 farm work but his great pleasure Cathie and the grandchildren was honoured with an MBE in during the Blairgowrie Festival of ISSUE 105 was fresh-water pearl fishing with songs all around and Alex 2006. The Stewarts of Blair were 1969 – so setting the standard for and piping – often busking at the telling some wonderful ancient, made Honorary Members of other singers to follow – with her Devil’s Elbow in the summer time supernatural folk tales.
Load more

Recommended publications
  • View Or Download Full Colour Catalogue May 2021
    VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental
    [Show full text]
  • Bartlett, T. (2020) Time, the Deer, Is in the Wood: Chronotopic Identities, Trajectories of Texts and Community Self-Management
    Bartlett, T. (2020) Time, the deer, is in the wood: chronotopic identities, trajectories of texts and community self-management. Applied Linguistics Review, (doi: 10.1515/applirev-2019-0134). This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/201608/ Deposited on: 24 October 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Tom Bartlett Time, the deer, is in the wood: Chronotopic identities, trajectories of texts and community self-management Abstract: This paper opens with a problematisation of the notion of real-time in discourse analysis – dissected, as it is, as if time unfolded in a linear and regular procession at the speed of speech. To illustrate this point, the author combines Hasan’s concept of “relevant context” with Bakhtin’s notion of the chronotope to provide an analysis of Sorley MacLean’s poem Hallaig, with its deep-rootedness in space and its dissolution of time. The remainder of the paper is dedicated to following the poem’s metamorphoses and trajectory as it intertwines with Bartlett’s own life and family history, creating a layered simultaneity of meanings orienting to multiple semio-historic centres. In this way the author (pers. comm.) “sets out to illustrate in theory, text analysis and (self-)history the trajectories taken by texts as they cross through time and space; their interconnectedness
    [Show full text]
  • Lyrics + Detailed Song N...Or MMFLBF
    Extended Liner Notes and Lyrics for My Mind From Love Being Free by Lindsay Straw Since so many of these songs were learned primarily from three singers, I feel that it’s worth elaborating a bit on each. Lizzie Higgins & Jeannie Robertson: Nearly half come from the Scottish musical dynasty of Jeannie Robertson and Lizzie Higgins: “Far Over the Forth,” “Lord Lovat,” “When I Was Not But Sweet Sixteen,” and “Lovely Molly.” Jeannie and Lizzie’s powerful, emotional singing styles and repertoire continue to move me, years after stumbling upon them in the Voice of the People collections. Jeannie Robertson was a major figure in the British folk revival. She and her family were Travellers in Aberdeenshire, and were bearers of a rich musical history. Her daughter Lizzie reluctantly performed and recorded Jeannie’s songs and carried on her legacy, as did many other singers who learned from her over the years. Musical Traditions’ In Memory of Lizzie Higgins and James Porter & Herschel Gower’s Jeannie Robertson: Emergent Singer, Transformative Voice, along with the Mainly Norfolk website, have been invaluable resources for further exploring both the songs and singers. Rita Gallagher: Several songs ­ “The Bonny Light Horseman,” “The Mermaid,” and “Lurgy Stream” ­ were learned from Rita Gallagher’s albums. Rita’s gorgeous voice and intricate ornamentation are hugely responsible for my love of old­style Irish singing. Rita is from Donegal, and when she was younger she learned from Paddy Tunney and other members of his family. She has also been kind enough to take the time to answer a nerdy folk singer’s questions via email.
    [Show full text]
  • Oral Tradition 29.1
    Oral Tradition, 29/1 (2014):47-68 Voices from Kilbarchan: Two versions of “The Cruel Mother” from South-West Scotland, 1825 Flemming G. Andersen Introduction It was not until the early decades of the nineteenth century that a concern for preserving variants of the same ballad was really taken seriously by collectors. Prior to this ballad editors had been content with documenting single illustrations of ballad types in their collections; that is, they gave only one version (and often a “conflated” or “amended” one at that), such as for instance Thomas Percy’s Reliques of Ancient English Poetry from 1765 and Walter Scott’s Minstrelsy of the Scottish Border from 1802. But with “the antiquarian’s quest for authenticity” (McAulay 2013:5) came the growing appreciation of the living ballad tradition and an interest in the singers themselves and their individual interpretations of the traditional material. From this point on attention was also given to different variations of the same ballad story, including documentation (however slight) of the ballads in their natural environment. William Motherwell (1797-1835) was one of the earliest ballad collectors to pursue this line of collecting, and he was very conscious of what this new approach would mean for a better understanding of the nature of an oral tradition. And as has been demonstrated elsewhere, Motherwell’s approach to ballad collecting had an immense impact on later collectors and editors (see also, Andersen 1994 and Brown 1997). In what follows I shall first give an outline of the earliest extensively documented singing community in the Anglo-Scottish ballad tradition, and then present a detailed analysis of two versions of the same ballad story (“The Cruel Mother”) taken down on the same day in 1825 from two singers from the same Scottish village.
    [Show full text]
  • LAMENT the Fruits of Diverse Languages and Aesthetic Values, These Traditions Are Rooted in Strikingly Different Landscapes
    Traditional Song and Music in Scotland MARGARET BENNETT 77 The traditional songs, poetry, and musiC of Scotland are as easy to recognize as they are difficult to define. Just as purple heather cannot describe the whole country, so with traditional arts: no simple description will fit. M A C C R I M M 0 N ' S LAMENT The fruits of diverse languages and aesthetic values, these traditions are rooted in strikingly different landscapes. Within this small country there are enormous Dh'iadh ceo nan stuc mu contrasts. Culturally as well as geographically, Scotland could be divided aodainn Chuillionn, Is sheinn a' bhean-shith a torman into several (imaginary) areas [see map on page 70], each reflecting a mulaid, distinct spirit of the Scottish people, their songs, poetry, and music. Gorm shuilean ciuin san Along with the Western Isles (the Outer Hebrides), the Highlands­ Dun a' sileadh Scotland's largest land mass and most sparsely populated area-is On thriall thu uainn 's nach till traditionally home to the Gaels, who make their living from "crofting" thu tuille. (working very small farms), fishing, weaving, whisky distilling, tourism, Cha till, cha till, cha till and, nowadays, computing. uciamar a tha thu'n diugh?" a neighbor MacCriomain, enquires, in Scottish Gaelic, "How are you today?" The songs and music An cogadh no s.ith cha till e have evolved through history, from as early as the first century C.E., when tuille; Scotland and Ireland shared traditions about their heroes. These traditions Le airgiod no ni cha till MacCriomain remember the hero Cu Culainn, whose warriors were trained to fight by Cha till e gu bdth gu La na a formidable woman on the Isle of Skye.
    [Show full text]
  • Context, Structure, and Meaning in the Scottish Ballad
    Singing Families of Aberdeenshire: Context, Structure, and Meaning in the Scottish Ballad Thomas A. McKEAN The North-East of Scotland is sometimes called “the cold shoulder of Scotland”, with the cold winds coming off the surrounding North Sea. Cold and windy it may be, but it is also home to one of the most remarkable singing traditions in the world: the classic ballad tradition. In Francis James Child’s The English and Scottish Popular Ballads fully two-thirds of the primary texts come from Aberdeenshire. １） The ballad in Scottish tradition is a song that tells a story, a compact narrative communicating history, experience, and happenstance along with the human emotional responses to them. The songs contain some of the most distilled and powerful poetic language to be found anywhere, in the service of dramatic, and sometimes horrifying plots. Before reflecting on the form and structure of the Scottish ballad, I want to focus on the people who sing. There has been extensive research on ballad texts, their background history, and the melodies to which they were sung, but comparatively little attention spent on who sings, why they sing, what it means to them, and how the songs function in their lives. The following may be considered a brief introduction to four prominent Scottish Traveller families, people for whom song is a part of daily life, a part of regular human communication, rather than for performance on a stage. On the way, we will encounter their society and consider their singing style. Families are the basic unit of folk song.
    [Show full text]
  • QH 40Th Anniversary Press Release
    EMBARGOED TILL 5/11/18 at midday THE QUEEN’S HALL – LIFE BEGINS AT 40 1979-2019: Former church celebrates 40 years of welcoming music worshippers through its doors Southside of the Tracks 12.01.19 Steven Osborne & Alban Gerhardt 06.07.19 The Queen’s Hall enters its fortieth year in 2019 with a packed and varied programme of high quality events which reflect the wealth of entertainment it has provided audiences over the years, whilst also looking forward to a bright future. The celebrations start on 12 January with a who’s who of singer-songwriters brought together on the same stage for the first time by Scotland’s foremost fiddle player, John McCusker. Renowned for his skill at transcending musical boundaries, John has shared stages with Paul Weller, Paolo Nutini and Teenage Fanclub and has been a member of Mark Knopfler’s house band since 2008. In Southside of the Tracks: 40 years of traditional music at The Queen’s Hall he will perform with his chosen house band of James Mackintosh, Ian Carr, Ewen Vernal, Michael McGoldrick and Louis Abbott (Admiral Fallow) with special guests, so far, Roddy Woomble (Idlewild), Kathleen MacInnes, Phil Cunningham, Adam Holmes, Daoiri Farrell, Heidi Talbot and Rachel Sermanni. More guests are to be announced. Nigel Griffiths, Chair of The Queen’s Hall Board of Trustees says, “We’re starting our fortieth year as we mean to go on and have a bold and ambitious programme which reflects the calibre of artists performing on our stage. In the face of developing competition it is so important for Edinburgh, as the capital city, to keep this beloved institution on the map and I believe we’re now poised to enter a truly dynamic era in The Queen’s Hall’s history.” To commemorate the concert on 6 July 1979 when The Queen’s Hall was officially opened by HM Queen Elizabeth II, we have multi-award-winning Scottish pianist Steven Osborne with one of the world’s finest cellists Alban Gerhardt performing a programme of Schumann, Brahms, De falla, Debussy and Ravel.
    [Show full text]
  • The Musicians______
    The musicians_______________________________________________________________________ Ross Ainslie Bagpipes & Whistle Ross hails from Bridge of Earn in Perthshire. He began playing chanter at the age of 8 and like Ali Hutton studied under the watchful eye of the late great Gordon Duncan and was a member of the Vale of Atholl pipe band. Ross also plays with Salsa Celtica, Dougie Maclean's band, India Alba, Tunebook, Charlie Mckerron's trio and in a duo with Irish piper Jarlath Henderson. He released his début solo album "Wide Open" in 2013 which was voted 9th out of 50 in the Sunday Herald "The Scottish albums of 2013". He was nominated for "musician of the year" at the Radio 2 folk awards 2013 and also for "Best Instrumentalist" at the Scots Trad Music Awards in 2010 and 2012. Ali Hutton Bagpipes & Whistle Ali, from Methven in Perthshire, was inspired at the age of 7 to take up the bagpipes and came up through the ranks at the Vale of Atholl pipe band. He was taught alongside Ross Ainslie by the late, great Gordon Duncan and has gone on to become a successful multi‐instrumentalist on the Scottish music scene. He has produced and co‐produced several albums such as Treacherous Orchestra’s “Origins”, Maeve Mackinnon's “Don't sing love songs”, The Long Notes’ “In the Shadow of Stromboli” and Old Blind Dogs’ “Wherever Yet May Be”. Ali is also currently a member of Old Blind Dogs and the Ross Ainslie band but has played with Capercaillie, Deaf Shepherd, Emily Smith Band, Dougie Maclean, Back of the Moon and Brolum amongst many others.
    [Show full text]
  • Bonny Lass Come O'er the Burn Ray & Archie Fisher
    TSDL128 BONNY LASS COME O’ER THE BURN RAY & ARCHIE FISHER DOLINA MACLENNAN ENOCH KENT ROBIN GRAY Songs, Ballads and Broadsides from Scotland. Songs, Ballads, Waulking Songs and Mouth Music from the Western Isles. TSDL128 1. The Twa Corbies Ray Fisher acc. 14. Bratach Bana Dolina Maclennan acc. Archie Fisher (guitar) Robin Gray (guitar) 2. Fil U O Ru Hu O Dolina Maclennan unacc. Notes by Norman Buchan 3. Gypsy Laddie Robin Gray acc. himself Notes on the Gaelic Songs and ‘The Gypsie (guitar) Laddie’ by Robin Gray Bonny Lass 4. Beggar Man Enoch Kent unacc. Come O’er The Burn 5. Hug O Ran O Ru Donna Maclennan RECORDING DATES unacc. 02 Ray and Archie Fisher 6. Donal Don Enoch Kent acc. himself Hampstead, St. Pancras and Edinburgh (guitar) 1960 7. Kilbogie Ray & Archie Fisher acc. Archie Fisher (guitar) Dolina Maclennan 8. The Night Visiting Song Ray & Archie Cricklewood 1961 Fisher acc. Archie Fisher (guitar) Enoch Kent 9. Bonny Lass Come O’er the Burn Hampstead 1962 Enoch Kent unacc. 10. Far Over the Forth Ray Fisher unacc. 11. The Butcher Boy Enoch Kent acc. himself (guitar) 12. Port a Beul Dolina Maclennan unacc. 13. Erin Go Brath Enoch Kent unacc. TSDL128 The folk song revival in Scotland is of importance smoke reeking from the wee roon lum of ‘Ma well beyond song itself. The total Scottish cultural Granny’s Hieland Hame’. But in poetry and the novel tradition is a popular one. Our medieval writers – MacDiarmid and Grassic Gibbon – the strength of were at their strongest when drawing on the popular truth began to win through.
    [Show full text]
  • Download PDF Booklet
    THE TRAVELLING STEWARTS 1 Johnnie, My Man Lizzie Higgins 2 Willie’s Fatal Visit Jeannie Robertson 3 The Battle’s O’er; Scotland the Brave; The 51st Division in Egypt Played by Donald and Isaac Higgins, pipes 4 Bogie’s Bonnie Belle Jane Stewart 5 McGinty’s Meal and Ale Davy Stewart 6 My Bonnie Tammy Christina Stewart 7 MacPherson’s Lament Maggie McPhee 8 The Drunken Piper; Brig o’ Perth; Reel o’ Tulloch Played by Alex Stewart, pipes 9 Loch Dhui Belle Stewart acc. Alex Stewart, goose 10 The Dawning of the Day Cathie Stewart, acc. Alex Stewart, goose 11 Donald’s Return to Glencoe Sheila Stewart First Issued by Topic 1968. Recorded in Scotland by Bill Leader, 1967. Notes by Carl MacDougall Photograph by Brian Shuel ‘You’ll never see me laughing or shouting at a Pakistani or Later the mass evictions of Highland crofters now anybody like that; no, never... known as the Clearances, where sheep usurped men in the Long, long years ago when I was a wee boy. my auld mother minds of the land-owners, helped swell the ranks of the told me that all travellers came from the same place as these ‘travellers’. The evictions were followed by an orgy of tartan people. and so I never do anything that might offend them. romanticism which we Scots have not yet recovered from; and Anyway, they`re having a hard time of it. just like the this was followed by an orgy of ‘gypsy’ romanticism. Just as travellers...’ every Scot had a kindly, tartan-clad granny in a wee cottage Davy Stewart, itinerant singer.
    [Show full text]
  • Speaker Biogs
    Friday 4th December 2014 MAC Arts, Galashiels Speaker Biogs James Mackintosh – CABN Advocate for Music James is an experienced touring and session musician, composer and teacher; equally at home on the road, in the recording studio and on the film set. He is a founding member of groundbreaking Scottish group Shooglenifty, touring globally for over 20 years, playing concerts and festivals in New Zealand, Australia, Europe, USA, Canada and Asia. He is co founder of label "Shoogle Records". He has extensive teaching and workshop experience in drums, percussion and group work and has hosted workshops at concerts and festivals around the globe, from Seattle to Sydney. As one of CABN’s Advocates, James designs and delivers support for the music sector through advice sessions and events covering topics relevant to music professionals. Tom Bancroft – Musician, Drummer, Managing Director at ABC Creative Music Tom Bancroft is a drummer, composer, bandleader and educator. Once a Cambridge educated medical doctor Tom now makes his living from music. He has played with musicians ranging from Sun Ra & Martyn Bennett to Geri Allen and Bill Wells. He has led big band Orchestro Interrupto for more than 20 years and now leads small band Trio Red, as well as being a long term member of Trio AAB and the Dave Milligan Trio. He is a founder member of the Pathhead Music Collective which won the £50,000 Creative Places Award in 2013 for his village where Tom and 14 other professional musicians live and run concerts and education and community projects. Heather MacLeod – Leod Music, Stoneyport Associates, Bevvy Sisters, Loveboat Big Band Originally from the Isle of Lewis, Heather has appeared with many different bands including McFalls Chamber, La Boum! and currently the Bevvy Sisters and the Loveboat Big Band - who have their roots in the much loved Bongo Club.
    [Show full text]
  • The BBC Folk Music and Dialect Recording Scheme (1952-57) As Its Case Study, Tuning Into a Particular Form of Radio Fieldwork
    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. National Phonography Field Recording and Sound Archiving in Postwar Britain Tom Western Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music University of Edinburgh 2015 i Declaration I hereby declare that this thesis, submitted in candidature for the degree of Doctor of Philosophy at the University of Edinburgh, and the research within it is my own work, except where explicitly stated in the text, and has not been submitted for any other degree or professional qualification. _______________________ Tom Western 10 August 2015 ii iii Contents List of Figures v Abstract vi Acknowledgements vii Introduction 1 1. Locating National Phonography in the Literature 1.1 Recorded Music 21 1.2 Ethnomusicology, Technology, History 25 1.3 Defining Phonography 30 1.4 Applying this to Folk Musics in Britain 35 2.
    [Show full text]