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1St Annual Dreams Come True Feis Hosted by Central Florida Irish Dance Sunday August 8Th, 2021
1st Annual Dreams Come True Feis Hosted by Central Florida Irish Dance Sunday August 8th, 2021 Musician – Sean Warren, Florida. Adjudicator’s – Maura McGowan ADCRG, Belfast Arlene McLaughlin Allen ADCRG - Scotland Hosted by - Sarah Costello TCRG and Central Florida Irish Dance Embassy Suites Orlando - Lake Buena Vista South $119.00 plus tax Call - 407-597-4000 Registered with An Chomhdhail Na Muinteoiri Le Rinci Gaelacha Cuideachta Faoi Theorainn Rathaiochta (An Chomhdhail) www.irishdancingorg.com Charity Treble Reel for Orange County Animal Services A progressive animal-welfare focused organization that enforces the Orange County Code to protect both citizens and animals. Entry Fees: Pre Bun Grad A, Bun Grad A, B, C, $10.00 per competition Pre-Open & Open Solo Rounds $10.00 per competition Traditional Set & Treble Reel Specials $15.00 per competition Cup Award Solo Dances $15.00 per competition Open Championships $55.00 (2 solos are included in your entry) Championship change fee - $10 Facility Fee $30 per family Feisweb Fee $6 Open Platform Fee $20 Late Fee $30 The maximum fee per family is $225 plus facility fee and any applicable late, change or other fees. There will be no refund of any entry fees for any reason. Submit all entries online at https://FeisWeb.com Competitors Cards are available on FeisWeb. All registrations must be paid via PayPal Competitors are highly encouraged to print their own number prior to attending to avoid congestion at the registration table due to COVID. For those who cannot, competitor cards may be picked up at the venue. For questions contact us at our email: [email protected] or Sarah Costello TCRG on 321-200-3598 Special Needs: 1 step, any dance. -
Another One Hundred Tunes” Published October 25, 2013
O’Flaherty Irish Music Retreat “Another One Hundred Tunes” Published October 25, 2013 We decided to issue a third tunebook in celebration of the tenth year of the O’Flaherty Irish Music Retreat. It is hard to believe that a decade has passed since we held our first event at the Springhill Retreat Center in Richardson, Texas back in October of 2004. None of us who organized that first event had any indication that it would grow as it has. What started as a small local music camp has given rise to a well-respected international camp attracting participants from near and far. We have been successful over the years because of two primary factors – good teachers and good learners. Fortunately, we have never had a shortage of either so we have not only survived, but have expanded greatly in both scope and size since our founding. There is one other factor of our success that is important to remember – the music itself. Traditional Irish music is unlike any music I’ve known. On one hand, I have seldom encountered music more difficult to master. Playing “authentically” is the goal but that goal can take years if not a lifetime of listening, practicing and playing. On the other hand, the music by its nature is so accessible that it permits players to engage in it at any level of ability. It is not uncommon for experienced players to encourage novices and help establish a connection with this remarkable music tradition. That connection is the essence of what we try to do at our retreat – pass on the music as musicians have done in Ireland for centuries. -
Irish Music If You Are a Student, Faculty Member Or Graduate of Wake and Would Like to Play Irish Music This May Be for You
Irish Music If you are a student, faculty member or graduate of Wake and would like to play Irish music this may be for you. Do you know the difference between a slip jig and a slide? What was the historic connection between Captain O’Neill of Chicago and Irish music? Who was Patsy Touhey and was he American or Irish? What are Uilleann pipes? What is sean-nós singing and is there a connection with Irish poetry? For the answers, join this Irish Music association. GOALS: to have a load of fun playing Irish music and in the process: Create a forum for a dynamic musical interaction recognizing and promoting Irish music Provide an opportunity for musicians to study, learn, and play together in the vibrant Irish folk tradition Promote co-operation between outside music/fine arts departments in Winston-Salem Enhance a community awareness of Irish music, song and culture Expose interested music, and other fine arts, students to an international dimension of folk music based on the Irish tradition as a model Explore the vocal and song traditions in Ireland in the English and Gaelic languages Learn about the history of Irish folk music in America HOW THIS WILL BE DONE: Meet every two weeks and play with a Gaelic-speaking piper and whistler from Ireland, define goals, share pieces, develop a repertoire; organize educational and academic demonstrations/projects; hear historic shellac, vinyl and cylinder recordings of famous pipers, fiddlers, and singers. Play more music. WHAT THIS IS: Irish, pure 100%..... to learn not only common dance music forms including double jigs, reels, hornpipes, polkas but also less common tune forms such as sets, mazurkas, song airs and lullabies etc WHAT THIS IS NOT: Respecting our Celtic brethren, this is NOT Celtic, Scottish, Welsh, Breton, Galician or Canadian/Cape Breton music which is already very well represented by some fine players here in North Carolina. -
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. -
Exploring the Musical Traditions of Co. Leitrim & Co. Fermanagh
Exploring the Musical Traditions of County Leitrim & County Fermanagh In May 2020 Irish Arts Foundation launched a pioneering research programme. It centred on specific regional playing styles and influences within Irish traditional music originating from rural communities around the border counties of: Leitrim in the Republic of Ireland and Fermanagh in Northern Ireland. Themes 1. Regional identity. 2. Local musical traditions in Co. Leitrim and Fermanagh. 3. The families and individuals who kept the music alive, and their legacy today. Regional Identity In the time of the horse and cart - the ‘candle to bed’ age - each village, town and county had its own tunes and dances; a musical accent and dialect. This was due to relative rural isolation. So despite the close proximity of Co. Leitrim and Fermanagh, distinct regional identities - musical, religious and political – formed. When talking about regional identity and style there will always be generalisations; tunes do not carry passports and music has never been constrained by borders. Despite this, we will look at what can be widely termed, a Leitrim and a Fermanagh musical tradition. County Leitrim Leitrim is in the province of Connacht and part of the Border Region. Its largest town is Carrick-on-Shannon with a population of 3,134. Although one of Ireland’s smallest counties, Leitrim has a distinct musical tradition of flute and fiddle music. We will look at some of the individuals and groups who have shaped the Leitrim style of traditional music. Leitrim Flute Music “Co. Leitrim has preserved a distinct musical identity and tradition based largely on the flute. -
Contemporary Folk Dance Fusion Using Folk Dance in Secondary Schools
Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part Contemporary Folk Dance Fusion Using folk dance in secondary schools By Kerry Fletcher, Katie Howson and Paul Scourfield Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Kerry Fletcher, Katie Howson and Paul Schofield Edited by: Frances Watt Copyright © English Folk Dance and Song Society, Kerry Fletcher, Katie Howson and Paul Schofield, 2014 Permission is granted to make copies of this material for non-commercial educational purposes. -
Cs June 2010.Pdf
ISSN 1352-3848 June 2010 VOLUME 27 NO 1 THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY Jock Agnew and Martin Lowe launch ‘The Wind in the Bellows’ IN THIS ISSUE From the Archive(4): New Tune Book(5): Music Resources(6): John Armstrong’s Sword(7): Tutor Launch(9): Melrose(11): LBPS Annual Competition(13): Stock Imagery(18): Piper Gould(24): Revival or Survival?(26): Event Reports(35): Nate Banton Interview(41): Coming Events(48): Reviews(51): Back Lill(55) 1 President Julian Goodacre Minute Sec. Jeannie Campbell Chairman: Jim Buchanan Newsletter Helen Ross Treasurer Iain Wells Membership Pete Stewart Secretary Judy Barker Editor CS Pete Stewart THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY EDITORIAL ol 25 no 1 is the 47th issue of some from far-flung parts of the world; Common Stock [issues were there were lowland pipers in America, in V rather erratic in the early years], Australia, in Germany and the Nether- but it is the first I have supervised as lands, in India and in Oman, it seemed, editor. It is extraordinary to find that I and they were all keen to become part of am only the third person to hold this this new organization and share their privileged position. It is indeed a privi- enthusiasm. lege to take over a publication which has And because they did, I am now given recorded the trajectory of bellows piping the honour of editing the journal they from the days nearly thirty years ago first produced in Dec 1983. when various enthusiasts around the This revisiting of the early days has world began to discover that they were been largely the result of the work that not alone in their interest and that there has been done recently on preparing the was demand for an organization which Society’s records for deposit in the Na- would represent it. -
Hornpipes and Disordered Dancing in the Late Lancashire Witches: a Reel Crux?
Early Theatre 16.1 (2013), 139–49 doi: http://dx.doi.org/10.12745/et.16.1.8 Note Brett D. Hirsch Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux? A memorable scene in act 3 of Thomas Heywood and Richard Brome’s The Late Lancashire Witches (first performed and published 1634) plays out the bewitching of a wedding party and the comedy that ensues. As the party- goers ‘beginne to daunce’ to ‘Selengers round’, the musicians instead ‘play another tune’ and ‘then fall into many’ (F4r).1 With both diabolical interven- tion (‘the Divell ride o’ your Fiddlestickes’) and alcoholic excess (‘drunken rogues’) suspected as causes of the confusion, Doughty instructs the musi- cians to ‘begin againe soberly’ with another tune, ‘The Beginning of the World’, but the result is more chaos, with ‘Every one [playing] a seuerall tune’ at once (F4r). The music then suddenly ceases altogether, despite the fiddlers claiming that they play ‘as loud as [they] can possibly’, before smashing their instruments in frustration (F4v). With neither fiddles nor any doubt left that witchcraft is to blame, Whet- stone calls in a piper as a substitute since it is well known that ‘no Witchcraft can take hold of a Lancashire Bag-pipe, for itselfe is able to charme the Divell’ (F4v). Instructed to play ‘a lusty Horne-pipe’, the piper plays with ‘all [join- ing] into the daunce’, both ‘young and old’ (G1r). The stage directions call for the bride and bridegroom, Lawrence and Parnell, to ‘reele in the daunce’ (G1r). At the end of the dance, which concludes the scene, the piper vanishes ‘no bodie knowes how’ along with Moll Spencer, one of the dancers who, unbeknownst to the rest of the party, is the witch responsible (G1r). -
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 _ -- -"-".,---. -
2020 Syllabus
The 22nd Annual Garden State Feis Sponsored by Marie Moore School of Irish Dancing SUNDAY MARCH 1, 2020 DAVID BREARLEY HIGH SCHOOL 401 Monroe Avenue, Kenilworth, NJ 07033 Start Time 8:30 A.M. Entry Deadline: February 23, 2020 (Late fees begin after February 16, 2020) PLEASE REGISTER EARLY. FEIS WILL CLOSE WHEN 1000 PAID ENTRIES ARE REACHED. ALL FEIS UPDATES POSTED AT: mariemooreirishdance.com Adjudicators Musicians Christina Ryan - Pennsylvania Lisa Chaplin – Massachusetts Karen Early-Conway – New Jersey Siobhan Moore - New York Breda O’Brien – Massachusetts Kevin Ford – New Jersey Kerry Broderick - New York Jackie O’Leary – Canada Patricia Moriarty-Morrissey – New Jersey Eileen McDonagh-Morr – New York Brian Grant – Canada Billy Furlong - New York Sean Flynn - New York Terry Gillan – Florida Ann Marie Acosta – New York Marie Connell – UK Philip Owens – Florida Chairpersons: Marie Moore-Cunniffe, ADCRG Frank Cunniffe, ADCRG Jacqueline Erel All entries must be completed online at FeisWeb.com – PAYPAL PAYMENT ONLY Please address all questions to: [email protected] FEIS IS REGISTERED, SANCTIONED AND WILL BE GOVERNED BY THE RULES OF AN COIMISIUN (www.clrg.ie), THE MID-ATLANTIC REGION (www.mid-atlanticregion.com) and THE NORTH AMERICAN FEIS COMMISSION (www.northamericanfeiscommission.org) JIM GRAVEN - PRESIDENT. PLEASE REFER TO APPLICABLE WEBSITES FOR CURRENT RULES GOVERNING THE FEIS If the Mid-Atlantic Region and the NAFC have divergent rules, the Mid-Atlantic Rules prevail. NAFC CHAMPIONSHIPS - 2020 Gerry Campbell Perpetual -
Extension Activity
Extension Activity - How the Banjo Became White Rhiannon Giddens is a multi-instrumentalist, singer, and found- ing member of the old-time music group Carolina Chocolate Drops. In 2017 she was awarded the Macarthur “Genius” Grant. Below are excerpts from a keynote address she gave at the 2017 International Bluegrass Music Association Conference, where she discusses the erasure of African Americans in the history of bluegrass, a genre that predominantly features the banjo. So more and more of late, the question has been asked: how do we get more diversity in bluegrass? Which of course, behind the hand, is really, why is bluegrass so white??? But the answer doesn’t lie in right now. Before we can look to the future, we need to understand the past. To understand how the banjo, which was once the ultimate symbol of African American musical expression, has done a 180 in popular understanding and become the emblem of the mythical white mountaineer—even now, in the age of Mumford and Sons, and Béla Fleck in Africa, and Taj Mahal’s “Colored Aristocracy,” the average person on the street sees a banjo and still thinks Deliverance, or The Beverly Hillbillies. In order to understand the history of the banjo and the history of bluegrass music, we need to move beyond the narratives we’ve inherited, beyond generalizations that bluegrass is mostly derived from a Scots-Irish tradition, with “influences” from Africa. It is actually a complex creole music that comes from multiple cultures, African and European and Native; the full truth that is so much more interesting, and American. -
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.