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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 -
Reel of the 51St Division
Published by the LONDON BRANCH of the ROYAL SCOTTISH COUNTRY DANCE SOCIETY www. rscdslondon.org.uk Registered Charity number 1067690 Dancing is FUN! No 260 MAY to AUGUST 2007 ANNUAL GENERAL SUMMER PICNIC DANCE MEETING In the Grounds of Harrow School The AGM of the Royal Scottish Country Saturday 30 June 2007 from 2.00-6.00pm. Dancing to David Hall and his Band Dance Society London Branch will be held at The nearest underground station is Harrow on the Hill. St Columba's Church (Upper Hall), Pont Programme Harrow School is 10 to 15 minutes walk east along Street, London, SWI on Friday 15 June 2007. The Dashing White Sergeant .............. 2/2 Lowlands Road (A404) and then right into Peterborough Tea will be served at 6pm and the meeting will The Happy Meeting ......................... 29/9 Road to Garlands Lane, first on left. The 258 bus from commence at 7pm. There will be dancing after Monymusk ...................................... 11/2 Harrow on the Hill tube station heading towards South the meeting. The White Cockade ......................... 5/11 Harrow drops passengers just below Garlands Lane – it’s AGENDA Neidpath Castle ............................... 22/9 about a 5 min ride. The same bus travels from South 1 Apologies. The Wild Geese .............................. 24/3 Harrow tube station also past Garlands Lane. (Note that 2 Approval of minutes of the 2006 AGM. The Reel of the 51st Division ....... 13/10 the fare is £2 now for any length of journey.) Taxis are 3 Business arising from the minutes. The Braes of Breadalbane ................ 21/7 available from the station. Ample car parking is available 4 Report on year's working of the Branch. -
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. -
Danu Study Guide 11.12.Indd
SchoolTime Study Guide Danú Friday, March 9, 2012 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! On Friday, March 9, 2012 at 11 am, your class will a end a performance by Danú the award- winning Irish band. Hailing from historic County Waterford, Danú celebrates Irish music at its fi nest. The group’s energe c concerts feature a lively mix of both ancient music and original repertoire. For over a decade, these virtuosos on fl ute, n whistle, fi ddle, bu on accordion, bouzouki, and vocals have thrilled audiences, winning numerous interna onal awards and recording seven acclaimed albums. Using This Study Guide You can prepare your students for their Cal Performances fi eld trip with the materials in this study guide. Prior to the performance, we encourage you to: • Copy the student resource sheet on pages 2 & 3 and hand it out to your students several days before the performance. • Discuss the informa on About the Performance & Ar sts and Danú’s Instruments on pages 4-5 with your students. • Read to your students from About the Art Form on page 6-8 and About Ireland on pages 9-11. • Engage your students in two or more of the ac vi es on pages 13-14. • Refl ect with your students by asking them guiding ques ons, found on pages 2,4,6 & 9. • Immerse students further into the art form by using the glossary and resource sec ons on pages 12 &15. At the performance: Students can ac vely par cipate during the performance by: • LISTENING CAREFULLY to the melodies, harmonies and rhythms • OBSERVING how the musicians and singers work together, some mes playing in solos, duets, trios and as an ensemble • THINKING ABOUT the culture, history, ideas and emo ons expressed through the music • MARVELING at the skill of the musicians • REFLECTING on the sounds and sights experienced at the theater. -
Traditional Fiddle Music of the Scottish Borders
CD Included Traditional Fiddle Music of the Scottish Borders from the playing of Tom Hughes of Jedburgh Sixty tunes from Tom’s repertoire inherited from a rich, regional family tradition fully transcribed with an analysis of Tom’s old traditional style. by Peter Shepheard Traditional Fiddle Music of the Scottish Borders from the playing of Tom Hughes of Jedburgh A Player’s Guide to Regional Style Bowing Techniques Repertoire and Dances Music transcribed from sound and video recordings of Tom Hughes and other Border musicians by Peter Shepheard scotlandsmusic 13 Upper Breakish Isle of Skye IV42 8PY . 13 Breacais Ard An t-Eilean Sgitheanach Alba UK Taigh na Teud www.scotlandsmusic.com • Springthyme Music www.springthyme.co.uk [email protected] www.scotlandsmusic.com Taigh na Teud / Scotland’s Music & Springthyme Music ISBN 978-1-906804-80-0 Library Edition (Perfect Bound) ISBN 978-1-906804-78-7 Performer’s Edition (Spiral Bound) ISBN 978-1-906804-79-4 eBook (Download) First published © 2015 Taigh na Teud Music Publishers 13 Upper Breakish, Isle of Skye IV42 8PY www.scotlandsmusic.com [email protected] Springthyme Records/ Springthyme Music Balmalcolm House, Balmalcolm, Cupar, Fife KY15 7TJ www.springthyme.co.uk The rights of the author have been asserted Copyright © 2015 Peter Shepheard Parts of this work have been previously published by Springthyme Records/ Springthyme Music © 1981 A catalogue record of this book is available from the British Library. The writer and publisher acknowledge support from the National Lottery through Creative Scotland towards the writing and publication of this title. All Rights Reserved. -
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. -
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 _ -- -"-".,---. -
The Quintessentially English Tune an Appraisal of the ʻcut-Timeʼ Hornpipe, Using Examples from the Burnett Ms
The Quintessentially English Tune An appraisal of the ʻCut-Timeʼ Hornpipe, using examples from the Burnett Ms. c.1840 By Paul Davenport, Cert.Ed., M.Mus. This essay was written in response to the arrogant declaration in GCSE Music guidance notes which declare that a ʻsimple folk melodyʼ will only earn the candidate a minimal mark at examination. Introduction As a brief and somewhat cursory introduction to this musical form it might be said that the hornpipe appears to have begun its life in the 17th century as a tune in ʻtripleʼ time, being set in time signatures of 3/2. 6/4 or even 9/8. Gathering and retaining popularity throughout the 17th and 18th centuries, it gradually began to recede from the popular milieu in the 18th century and was effectively extinct by the early 19th century having been succeeded by its progeny the 2/2, or ʻcut-timeʼ, hornpipes. The earlier form enjoyed a revival of interest amongst vernacular musicians in the late 20th century due to the publication, by John Offord, of his collection, ʼJohn of the Greeny Cheshire Wayʼ. Players of traditional music in the North-West of England are currently particularly interested in this form of the tune. Curiously, and this is never remarked upon by the players themselves, a majority of this generation had been introduced to the 3/2 hornpipe at school via ʻThe Young Personʼs Guide to the Orchestraʼ by Britten whose musical vehicle was Purcellʼs ʻRondo in Abdelazerʼ. This melody is a triple time hornpipe, one of two in the larger work, the second being published in the guise of a country dance tune by Playford as, ʻThe Hole in the Wallʼ. -
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.