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CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit „Zum Spannungsfeld von traditioneller und Neuer Volksmusik in Bayern und Österreich seit den 1980er Jahren“ Verfasserin Sophie Maria Susanna Rastl angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuer: Ass.-Prof. Dr. Michael Weber 1 2 Inhaltsverzeichnis 1. Einleitung..................................................................................................................... 9 1.1 Persönlicher Zugang zum Thema ............................................................................ 9 1.2 Zielsetzung der Arbeit .......................................................................................... 11 1.2.1 Volksmusik kategorisieren........................................................................... 11 1.2.2 Neue Volksmusik als Spannungsfeld der Volksmusikforschung .................. 12 1.2.2.1 Tonträger......................................................................................... 13 1.2.3 Persönliche Beobachtungen in Wien und München...................................... 13 1.3 Quellen und Arbeitstechnik ................................................................................... 15 1.4 Begriffserklärungen............................................................................................... 16 1.4.1 Tradition...................................................................................................... 16 1.4.2 Musiker ...................................................................................................... -
December 1952 Editor's Mail B
DECEMBER 1952 THE MAGAZINE OF FOLK AND SQUARE DANCING 25c EDITOR'S MAIL B A G - SEE PAGE 7 SQUARE DANCE FOLK DANCE DRESSES, GRACE FERRYMAN'S BLOUSES, SKIRTS, SLIPPERS PLEASANT PEASANT DANCING WE MAKE COSTUMES TO ORDER CHRISTMAS CARDS BEGINNERS—Fridays, 7-9 p.m. Moll Mart Smart Shop 625 Polk St., California Hall, San Francisco 7 Different Motifs—4 colors 5438 Geary Boulevard San Francisco INTERMEDIATES—Thursdays, 8-10:30 p.m. lOc and 20c each Mollie Shiman, Prop. EVergreen 6-0470 Beresford Park School, 28th Ave., San Mateo DON'T DELAY! MAIL YOUR ORDER WITH CHECK OR MONEY ORDER Second Annual Order one or 100 Write "Fiddle and Squares" DANCE INSTITUTE 291 I-A No. 5th St. Milwaukee 12, Wis. FOLK, SQUARE, ROUND, AND CONTRA DANCING SAN FRANCISCO STATE COLLEGE (Urmte New Campus—19th Avenue at Holloway, San Francisco 451 Kearney St., San Francisco Opportunities to learn and review dances, and do practice-teaching if desired. CLASSES College Credit May Be Earned Fee: $7.50 Monday 7 to 8:30 P.M. Friday, Dec. 26, through Tuesday, Dec. 30, 1952 Scottish Country Dances Co-Directors: Tuesday, 7 to 8:30 Eleanor Wakefield, San Francisco State College Spanish and Mexican Dances (Castanets, Latin American Dances, Ed Kremers, Past President, Folk Dance Federation of California Rumba, Tango, Samba, Mambo) Information may be obtained from Leo Cain, Dean of Educational Services, San Private Lessons $2 per half hour Francisco State College, 124 Buchanan, San Francisco 2, or from Co-Directors By appointment, day or evening- SUtter 1-2203 SPEND THE HOLIDAYS DANCING! a double feature in SEPARATES FOLK DANCING OR DAYTIME-EVENING WEAR EXQUISITE HAND LOOMED IMPORTED FABRICS of finest light weight wool FOR SKIRTS AND MATCHING STOLES AUTHENTIC BAVARIAN BORDER DESIGNS in contrasting colors AGAINST BACKGROUND COLORS OF: RED LIGHT GRAY ROYAL BLUE GREEN BLACK DARK GRAY BROWN WHITE It's Easy! It's Fun! MAKE YOUR OWN COSTUME CAPER OR SOCIAL WHIRLER 2 YARDS MAKE LOVELY DAYTIME OR EVENING SKIRT 3 YARDS MAKE LOVELY DANCE SKIRT 38" WIDE . -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: April 28, 2006 I, Kristín Jónína Taylor, hereby submit this work as part of the requirements for the degree of: Doctorate of Musical Arts in: Piano Performance It is entitled: Northern Lights: Indigenous Icelandic Aspects of Jón Nordal´s Piano Concerto This work and its defense approved by: Chair: Dr. Steven J. Cahn Professor Frank Weinstock Professor Eugene Pridonoff Northern Lights: Indigenous Icelandic Aspects of Jón Nordal’s Piano Concerto A DMA Thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College–Conservatory of Music 28 December 2005 by Kristín Jónína Taylor 139 Indian Avenue Forest City, IA 50436 (641) 585-1017 [email protected] B.M., University of Missouri, Kansas City, 1997 M.M., University of Missouri, Kansas City, 1999 Committee Chair: ____________________________ Steven J. Cahn, Ph.D. Abstract This study investigates the influences, both domestic and foreign, on the composition of Jón Nordal´s Piano Concerto of 1956. The research question in this study is, “Are there elements that are identifiable from traditional Icelandic music in Nordal´s work?” By using set theory analysis, and by viewing the work from an extramusical vantage point, the research demonstrated a strong tendency towards an Icelandic voice. In addition, an argument for a symbiotic relationship between the domestic and foreign elements is demonstrable. i ii My appreciation to Dr. Steven J. Cahn at the University of Cincinnati College- Conservatory of Music for his kindness and patience in reading my thesis, and for his helpful comments and criticism. -
Writing Lilja: a Glance at Icelandic Music and Spirit J
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Lehigh University: Lehigh Preserve Lehigh University Lehigh Preserve Post-crash Iceland: opportunity, risk and reform Perspectives on Business and Economics 1-1-2011 Writing Lilja: A Glance at Icelandic Music and Spirit J. Casey Rule Lehigh University Follow this and additional works at: http://preserve.lehigh.edu/perspectives-v29 Recommended Citation Rule, J. Casey, "Writing Lilja: A Glance at Icelandic Music and Spirit" (2011). Post-crash Iceland: opportunity, risk and reform. Paper 13. http://preserve.lehigh.edu/perspectives-v29/13 This Article is brought to you for free and open access by the Perspectives on Business and Economics at Lehigh Preserve. It has been accepted for inclusion in Post-crash Iceland: opportunity, risk and reform by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. WRITING LILJA: A GLANCE AT ICELANDIC MUSIC AND SPIRIT J. Casey Rule My cOntributiOn tO this jOurnal is rather aesthetic that is in nO way singularly Or sim - Out Of the Ordinary: instead Of writing a tradi - ply defined. MOre impOrtantly, the prOduct tiOnal article, I was asked tO cOmpOse a piece wOuld be inescapably inauthentic. Taking this Of music. As an aspiring cOmpOser, this was an apprOach wOuld be like standing in a fOrest OppOrtunity I cOuld nOt turn dOwn; hOwever, and explaining tO sOmeOne what a tree is by it presented sOme immediate challenges. PrOb - drawing a picture Of it. Naturally, the pieces that ably the mOst impOrtant and certainly the mOst are mOst infOrmative Of Icelandic music are vexing Of these was deciding hOw I cOuld actual pieces Of Icelandic music. -
Society for Ethnomusicology 60Th Annual Meeting, 2015 Abstracts
Society for Ethnomusicology 60th Annual Meeting, 2015 Abstracts Walking, Parading, and Footworking Through the City: Urban collectively entrained and individually varied. Understanding their footwork Processional Music Practices and Embodied Histories as both an enactment of sedimented histories and a creative process of Marié Abe, Boston University, Chair, – Panel Abstract reconfiguring the spatial dynamics of urban streets, I suggest that a sense of enticement emerges from the oscillation between these different temporalities, In Michel de Certeau’s now-famous essay, “Walking the City,” he celebrates particularly within the entanglement of western imperialism and the bodily knowing of the urban environment as a resistant practice: a relational, development of Japanese capitalist modernity that informed the formation of kinesthetic, and ephemeral “anti-museum.” And yet, the potential for one’s chindon-ya. walking to disrupt the social order depends on the walker’s racial, ethnic, gendered, national and/or classed subjectivities. Following de Certeau’s In a State of Belief: Postsecular Modernity and Korean Church provocations, this panel investigates three distinct urban, processional music Performance in Kazakhstan traditions in which walking shapes participants’ relationships to the past, the Margarethe Adams, Stony Brook University city, and/or to each other. For chindon-ya troupes in Osaka - who perform a kind of musical advertisement - discordant walking holds a key to their "The postsecular may be less a new phase of cultural development than it is a performance of enticement, as an intersection of their vested interests in working through of the problems and contradictions in the secularization producing distinct sociality, aesthetics, and history. For the Shanghai process itself" (Dunn 2010:92). -
Max Peter Baumann
Max Peter Baumann TRADITIONSZUSAMMENHANG UND REPERTOIRE IN DER VOLKSMUSIK AUS FRANKEN Wie in ganz Deutschland, so war auch in Franken nach dem 2. Weltkrieg eine merkliche Zasur 1m Bereich der Uberlieferung von Volkslied, -musik und -tanz zu verzeichnen. Das "Wo man singet, laß dich ruhig nieder" war nach oem Zusammenbruch problematisch geworden und mündete in den 60er Jahren 1n d1e von Franz Josef Degennardt kritisch gestellte Frage: "Wo s1nd unsere Lieder, unsere alten Lieder?". Er selbst stellte in po1nt1erter Scharfe fest: "Tot s1nd unsere Lieder/unsere alten Lieder/ Lehrer naben s1e zerblssen/Kurzoehoste sie verklampft/Braune Horden 1 totgescnr 1en ISt 1ef e l 1 n den Dreck gestampft" ). In pragnanter Fonr wird m1t wen1gen Zeilen der gesellschaftspolitische Mißbrauch von ued und M.JsiK kritiSiert: Das pädagogisch-ideologisch- beschonigte Nat1onall1ed des 19. Jahrhunderts, das Fahrtenlied der Wandervogel-Bewegung und schließlich das HJ- und Kampflied der Naz1zeit. Die überlieferten Inhalte und Formen wurden probiematisJert, n1cht zuletzt durch e1ne Junge Generation, die vorausgehend die Erfahrung mit dem kritischen anglo-amerikanischen Folksong gemacht hatte. In den ersten Liederbuchern wurde nach dem Kriege zwar teilweise noch auf das Erbe der Fahrten! Jeder zurückgegriffen, doch ergab sich seit den 50er Jahren unter dem Einfluß des Europagedankens mehr und mehr e1ne Offnung zu dem europa1schen Lied hin, nachdem das Bemühen, neue Jugendlieder zu schaffen, erfolglos war. Leitbild wurde der Gedanke, endlich 1m Lied von der "Volksgemeinschaft" weg zur "Völkergemeinschaft" h 1nzukommen. 1srae 11 sehe, osteu ropa 1sehe, f ranzös 1 sehe, irisehe LIeder und amerJkanJsche Folksongs und Spirituals waren gefragt und wurden in den Dienst einer Internationalen Verständigung genommen 2). -
263 SELECTED BIBLIOGRAPHY Monographs
SELECTED BIBLIOGRAPHY Monographs: Adorno, Theodor. The Culture Industry. New York: Routledge, 2001. Ahokas, Jaakko. A History of Finnish Literature. Indianapolis: Indiana University Publications, 1973. Ake, David. Jazz Cultures. California: University Of California Press, 2002. Albertsson, Ólafur Vignir. Einsöngslög IV. Reykjavik: Ísalög, 1997. Almén, Byron. A Theory of Musical Narrative. Bloomington and Indianapolis: Indiana University Press, 2008. Anderson, Benedict. Imagined Communities. New York, Verso, 1983. Andersson, Greger et al. eds. Musiken i Norden. Stockholm: Kungliga Musikaliska Akademien, 1998. Apollonio, Umbro, ed. Futurist Manifestos New York: Viking Press, 1973. Atkins, E. Taylor. ed. Jazz Planet. Mississippi: University of Mississippi Press, 2003. Attali, Jacques. Noise: The Political Economy Of Music. Minneapolis: University of Minnesota Press, 1985. Austerlitz, Paul. Jazz Consciousness: Music, Race, and Humanity. Connecticut, Wesleyan University Press, 2005. Baraka, Amiri. Jazz and the White Critic. Black Music. New York: Morrow, 1960. Barthes, Roland. Image, Music, Text. London: Fontana Press, 1977. Beard, David and Kenneth Gloag. Musicology: The Key Concepts. New York: Routledge, 2005. Benjamin, Walter. Illuminations: Essays and Reflections. New York, Schocken Books, 1968. Berendt, Joachim‐Ernst and Günther Huesmann, The Jazz Book: From Ragtime to the 21st Century. Chicago: Lawrence Hill Books, 2009. Bergendal, G. (1991). New Music In Iceland. Reykjavik, Iceland Music Information Centre. Berger, Harris M. and Giovanna P. Del Negro. Identity and Everyday Life: Essays in 263 the Study of Folklore, Music, and Popular Culture. United States: Wesleyan University Press, 2004. Bergh, Johs and Jan Evensmo. Jazz Tenor Saxophone in Norway 19171959. Oslo: Norsk Jazzarkiv, 1996. Berliner, Paul. Thinking In Jazz: The Infinite Art of Improvisation. Chicago, University of Chicago, 1994. -
The Morris Dancer (Online) ISSN 2056-8045 the Morris Dancer
The Morris Dancer (Online) ISSN 2056-8045 The Morris Dancer Being an occasional publication of the Morris Ring Volume 5, Number 6 April 2019 130 THE MORRIS DANCER Edited, on behalf of the Morris Ring, by Mac McCoig MA 07939 084374 [email protected] Volume 5, No. 6 April 2019 Contents: Editorial Mac McCoig Page 132 Mumming in Europe, Frazer(ism) in Italy, and “Survivals” in Historical Anthropology: a response to Julian Whybra. Alessandro Testa, Ph.D. Page 134 Manchester Morris Men: The Early Years. Keith Ashman Page 143 The Cambridge Morris Men and traditional dancers. John Jenner Page 151 The Travelling Morrice and traditional dancers. John Jenner Page 154 Some thoughts on the origin of the Papa Stour sword dance. Brian Tasker Page 176 An Ahistory of Morris. Julian Whybra Page 179 Book Review: Discordant Comicals – The Hooden Horses of East Kent. George Frampton Page 188 Cover Picture: Beorma Morris. Photo: Birmingham Evening Mail At the 2014 Jigs Instructional, the three Editors agreed to remind readers what sort of material would be accepted for each Ring publication. In the case of The Morris Dancer, it is any article, paper or study which expands our knowledge of the Morris in all its forms. It is better that the text is referenced, so that other researchers may follow up if they wish to do so, but non-referenced writing will be considered. Text and pictures can be forwarded to: Mac McCoig, [email protected] 131 Editorial In January 2017 at the Jockey Morris Plough Tour, a group of outraged British Afro-Caribbean spectators interrupted a performance by Alvechurch Morris, a black-face Border side. -
Icelandic Austrian Music
KRUMMI Icelandic Austrian Music The Austrian-based quintet performs groovy and gentle as well as striking versions of Icelandic folk music. These five musicians take our desires to a place where all wishes come true, even if just for a while: to nowhere, to no man’s land, to Iceland where sounds paint a perfect world in the most magnificent colours. Along with the accordionist Roman Pechmann, the Icelandic singer Ellen Freydis Martin inspires our imagination. The percussionist Nora Schnabl-Andritsch enchants the audience not only with her voice but also with her vivid, original and at the same time sensitive playing. The soulful performance of the violist Peter Andritsch paints out the myths and the magical colours of Iceland. The melodies make the distant land seem so very close and form a bridge to the images in our head, to our imagination. Isabelle Eberhard’s sensual, groovy and multifarious play on the violoncello brings a new interpretation to Icelandic music. The songs which originated from countless stories from a different cultural environment were inspired by our human longings. This is fitting for the seasons of self- reflection, autumn and winter. These captivating songs carry us with their fire into nowhere, to Iceland. The CD published in September 2016 was masterly played and arranged. It reflects the spontaneity and the exten- sive stylistic variety the band has to offer. Both boldly traditional as well as deeply anchored in the field of improvi- sation and world music, this music is versatile, surprising and virtuous. Krummi og hinir Alpafuglarnir! Contact Ellen Freydís Martin Ellen Freydis Martin/ Vocals: ‚Söngur‘ Nora Schnabl-Andritsch/ Percussion/ Vocals: ‚Trommur‘ +43 (676) 87 72 71 72 - [email protected] Roman Pechmann/ Akkordeon: ‚Harmónikka‘ Peter Andritsch („Krummi records“). -
Schuhplattler Instructions
Schuhplattler Instructions DATA SHEET ZOFRAN® INJECTION Zofran (Ondansetron hydrochloride dihydrate) Injection 4 mg and 8 mg Qualitative and quantitative composition Zofran. Dance Instructions About Us (10,597), Officers (9,544), 24gaufest2013 (9,195), Favorite Links (9,169), Dance Instructions (8,674), 23Gaufest2011 (8,318). Welcome to our Website! We are the German Air Force Schuhplattler Dance Group located in Fort Bliss, Texas and we would like to welcome you to our website. Bavarian Pretzels, Performances by Germania Almrausch Schuhplattler the Newsletter" and follow the instructions to register your name, address and email. Schuhplattler Ländler (Austria) Music: amazon.com/Schuhplattler-Tanz/dp/B0064ZF5F0/ref=sr_1_43?s= Andrew Carnie's Folk Dance Instructions. Bavarian music and dancing from Alpentanzer Schuhplattler followed by Rock.Sat, Oct 3Gold Country FairgroundsHundreds celebrate all things German at Evergreen Country Club.readingeagle.com/../hundreds-celebrate-all-things-german-at-evergreen-country- club-in-ruscombmanor-townshipCachedG.T.V. Edelweiss Schuhplattlers and Auerhahn Schuhplattler Verein also took the stage. Schuhplattler is a traditional folk dance that hails from Germany. Schuhplattler Instructions Read/Download Outfitted in traditional German lederhosen and dirndls, the dance troupe from River Valley Waldorf School in Upper Black Edy will perform a Schuhplattler. Other Activities: parade, stein holding contest, schuhplattler contest. Attendance: 1,500 # Food Booths: 5 Food Fee: Go Pro to view. # of Exhibitors: 10 Juried: no. The Schuhplattler is a traditional style of folk dance popular in the Alpine regions of Bavaria and Tyrol (southern Germany, Austria and the German speaking. She fronts for the band, invites guests to play cowbells, sing along, and leads audiences with folk dance instructions. -
Folk Music 1 Folk Music
Folk music 1 Folk music Folk music Béla Bartók recording Slovak peasant singers in 1908 Traditions List of folk music traditions Musicians List of folk musicians Instruments Folk instruments Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music". Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] This type of folk music also includes fusion genres such as folk rock, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two. Traditional folk music Definitions A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined