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January / February
CELTIC MUSIC • KENNY HALL • WORLD MUSIC • KIDS MUSIC • MEXICAN PAPER MAKING • CD REVIEWS FREE Volume 3 Number 1 January-February 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY A Little“Don’t you know that Folk Music Ukulele is illegal in Los Angeles?” — WARREN C ASEYof theWicket Tinkers is A Lot of Fun – a Beginner’s Tale BY MARY PAT COONEY t all started three workshop at UKE-topia hosted by Jim Beloff at years ago when I McCabe’s Guitar Shop in Santa Monica. I was met Joel Eckhaus over my head in about 15 minutes, but I did at the Augusta learn stuff during the rest of the hour – I Heritage Festival just couldn’t execute any of it! But in Elkins, West my fear of chords in any key but I Virginia. The C was conquered. Augusta Heritage The concert that Festival is has been in existence evening was a for over 25 years, and produces delight with an annual 5-week festival of traditional music almost every uke and dance. Each week of the Festival specialist in the explores different styles, including Cajun, SoCal area on the bill. Irish, Old-Time, Blues, Bluegrass. The pro- The theme was old gram also features folk arts and crafts, espe- time gospel, in line with cially those of West Virginia. Fourteen years the subject of Jim’s latest ago Swing Week was instigated by Western book, and the performers that evening had Swing performers Liz Masterson and Sean quite a romp – some playing respectful Blackburn of Denver, CO as a program of gospel, and others playing whatever they music. -
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. -
5. Danutė Petrauskaitė
5. Danutė PETRAuskaitė Lietuvos muzikologija, t. 9, 2008 Danutė PetrauskaitĖ Danutė PetrauskaitĖ Lithuanian Passages in Music and Life of Foreign Composers Lietuviški pasažai užsienio kompozitorių gyvenime ir kūryboje Abstract For a number of years (1795–1918), Lithuania did not exist as a sovereign European country as a result of long-term wars and occupa- tions. However, the name of Lithuania was directly or indirectly reflected in the works of foreign composers. The aim of the article is to identify the connections of the 19th and 20th centuries foreign composers and Lithuania, and the way those connections were reflected in their music. This article is addressed to foreign readers who are willing to learn about the image of Lithuania in the context of the European musical culture. Keywords: music, Lithuania, Italy, Poland, Russia, Lithuania Minor, composer, song, opera. Anotacija Daugelį metų (1795–1918) Lietuva neegzistavo kaip suvereni Europos valstybė. Tai buvo ilgai trukusių karų ir okupacijų padarinys. Tačiau Lietuva tiesiogiai ar netiesiogiai darė įtaką užsienio šalių kompozitoriams. Šio straipsnio tikslas – nustatyti ryšius, siejusius XIX– XX a. ne lietuvių kilmės kompozitorius su Lietuva, ir kaip tie ryšiai atsispindėjo jų muzikoje. Jis yra labiau skirtas ne Lietuvos, bet užsienio skaitytojams, norintiems susipažinti su Lietuvos įvaizdžiu Europos muzikinės kultūros kontekste. Reikšminiai žodžiai: muzika, Lietuva, Italija, Lenkija, Rusija, Mažoji Lietuva, kompozitorius, daina, opera. Introduction Western Lithuania, the land of dark forests where people are driven by wild passions. Even though 140 years passed International interest in Lithuania dates back a thou- since the short story was written, in 2007, the American sand years, when it was merely a pagan land. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
In Loving Memory of Milan Yaklich Dennis & Janice Strootman UWM Foundation Non-Profit Slovenian Arts Program Organization 1440 East North Avenue U.S
FALL ISSUE: NOVEMBER 2019 EDITOR: HELEN E. FROHNA NEWSLETTER OF THE UWM SLOVENIAN ARTS COUNCIL SLOVENIAN ARTS PROGRAM How would you describe Slovenian music? President: Christina Carroll Would it be Frankie Yankovic playing his accordion and singing about you and me under the silk umbrella (Židana Marela Polka)? Or would it be the Original Oberkrainer (Ansambel Avsenik) performing Trompetenecho? This is the type of music that most Slovenian-Americans recognize and relate to. When people left their homes and families behind in Slovenia/Austrian Empire to come to America to reinvent their lives in the mines and factories in Michigan’s UP, the Iron Range in Minnesota, and the cities of Cleveland, Chicago, and Milwaukee, they wanted to remember a little bit of “home”. Various singing choirs and musicians organized to replicate the melodies and sounds that they knew when they were growing up. Folk melodies were what they remembered. Over the past 30 years, the UWM Slovenian Arts Council presented various music programs that featured Slovenian performers and/or Slovenian compositions. Not all performers were from Slovenia, not all music sounded like familiar Slovenian folk tunes. Our goal was to showcase various types of music for the enjoyment and enrichment of the Slovenian-American commu- nity and the public at large. Singers and musicians from Slovenia consisted of the Deseti Brat Oktet, Navihanke, Vlado Kreslin, Perpetuum Jazzile, Slovenski Oktet, and the Lojze Slak Ansambel, performing folk, classical, and contemporary compositions. But other programs also featured the Singing Slovenes from Minnesota; from Cleveland, the Jeff Pecon Band, Fantje Na Vasi, and the Fantje’s next generation singers, Mi Smo Mi. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
Le Villi, La Première Valse Folle De Giacomo Puccini
Le Villi, la première valse folle de Giacomo Puccini Un dossier de Yonel BULDRINI « I Due Toscani » p.2 Les origines et les débuts de Giacomo Puccini Giacomo Puccini, Le Willis et Le Villi p.8 La création de l’opéra et ses nombreux remaniements L’action et la musique de Le Villi p.12 La légende des Willis et sa réécriture littéraire et musicale par Puccini Le Villi – p. 1 © Yonel Buldrini - www.forumopera.com L’Opéra de Nancy termina sa saison en couplant le délicieux Zanetto de Mascagni avec I Pagliacci et voici que, dans un bel accord lorrain, le Théâtre de Metz, doyen des théâtres français encore en activité, inaugure la sienne en ajoutant à Cavalleria rusticana l’intéressant premier opéra de Giacomo Puccini. Conçu à une époque où l’opéra italien se cherchait, Le Villi se ressentent de la tendance à amplifier le discours orchestral, entraînant une projection de la voix majeure, au service d’une ligne vocale plus généreuse. Puccini s’inscrit dans la recherche des Ponchielli, Gomes, Catalani… mais avec ses élans propres, et un symphonisme qui faisait froncer les sourcils au Maestro Verdi… « I Due Toscani » Les origines et les débuts de Giacomo Puccini Pourquoi ce titre de Les Deux Toscans, faisant écho à ce chef-d’œuvre de pathétique qu’est l’opéra de Verdi intitulé I Due Foscari ? C’est qu’en effet un autre compositeur, originaire comme Puccini de cette splendide Toscane tant chantée, devait assister à ses débuts, après avoir été un compagnon d’études et de vie de bohème… Avant d’en dévoiler le nom, voyons d’abord qui était l’aîné des deux, Giacomo Puccini. -
Working Tambura Bands and the Construction of the In- Between in Croatia and Its Intimates
From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates Ian MacMillen Prelude: Miroslav Skoro's Twentieth Anniversary Concert In November 2009, Croatian pop singer Miroslav Skoro performed in front of some twenty thousand fans at Arena Zagreb, the capital city's much lauded new sports hall. This was the second largest audience drawn by a Croatian act since the hall's opening the previous December, I a testament to Skoro's continuing status as one of Croatia's most popular patriotic performers (as well as television star and, in recent years, politician and record mogul). Aside from the notably large attendance, the concert in Zagreb was of particular significance to Skoro for its timing: held on the twentieth day of November, his performance celebrated twenty years' work in the music industry as a professional singer and songwriter. Accompanied by his band (on backup vocals, tenor saxophone, acoustic and electric guitars, keyboard, drums, and electric bass) and a number of guest musicians from past projects and from his family, Skoro performed repertoire from throughout his career and thereby commemorated his twenty years of hit songs and his many musical collaborations with these and other musicians. Skoro spoke to those of us in the audience about the significance of several of these individuals to his life and career, drawing particular atten tion to one who, although unable to attend, loomed large over the event: legendary Pittsburgh-born player oftraditional tambura chordophones, Jerry Grcevich. This longtime musical collaborator of Skoro's had arranged most of the singer's early hits and had singly performed the accompaniment (of overdubbed melody and rhythm tamburas) to each of the songs on Skoro's first and third albums. -
At a Glance Concert Schedule
At A Glance Concert Schedule SC- Supper Club CH- Concert Hall MB- Music Box Full Venue RT- Rooftop Deck RF- Riverfront Porch PDR- Private Dining Room Wed 11/1 CH Paul Thorn Hammer & Nail 20th Anniversary Tour (Tickets) Thu 11/2 SC Johnny Cash Tribute by The Cold Hard Cash Show Spreading the great word and music of The Man in Black, Johnny Cash! (Tickets) Fri 11/3 CH Kevin Griffin of Better Than Ezra Singer, Guitarist, Alt-Rock Frontman (Tickets) Fri 11/3 SC Hey Mavis Northeast Ohio’s Favorite Americana Folk Rock Band (View Page) Sat 11/4 SC Sugar Blue "One of the foremost harmonica players of our time" - Rolling Stone (Tickets) Sun 11/5 SC Crosby, Stills, Nash & Young Brunch Featuring Long Time Gone (View Page) Sun 11/5 CH Elizabeth Cook Outlaw Country Songstress (Tickets) Mon 11/6 CH Lucinda Williams ~ This Sweet Old World 1st set This Sweet Old World, 2nd set Hits & Favorites (View Page) Wed 11/8 SC Strange Tales From Ohio History – Neil Zurcher Cleveland Stories Dinner Parties (View Page) Wed 11/8 CH Tom Rush Blues-Influenced Folk Rocker and Songwriter (Tickets) Fri 11/10 SC Motown & More with Nitebridge Enjoy the jumpin' sounds of your favorite classic hits! (View Page) Fri 11/10 CH Neil Young Tribute by Broken Arrow Spot on rendition of Neil Young hits and standards (Tickets) Sun 11/12 SC Beatles Brunch With The Sunrise Jones (Tickets) Mon 11/13 CH Science Café – Beyond 0’s and 1’s: Using Chemical-Based Memory Devices for Large Scale Data Storage Talk Science, Drink Beer (View Page) Tue 11/14 CH The Electric Strawbs Electric Show -
New Harmonies
Dear Teacher: Welcome to New Harmonies: Celebrating American Roots Music, an exhibition organized by the Smithsonian Institution’s Museum on Main Street program and brought to you by your state humanities council. These materials and activities were compiled to help your students observe, imagine, learn & contribute to the discussion of American roots music during their visit to the exhibition. While it’s desirable to participate in each step, it’s certainly not required. In fact, each individual piece will provide your students with thought-provoking questions and activities. You can easily customize lessons or even develop your own methods of exploring roots music! The lesson plans that accompany New Harmonies will help you create a meaningful experience for your students. Each includes Pre-visit, Visit, and Post-visit activities. All the lessons can be adapted for younger or older audiences, so evaluate each lesson before selecting activities for your students. The Pre-visit step is designed to be simple, to introduce the students to the exhibit topic, and to be easy to implement. This step is intended to stimulate the students’ curiosity and help students gather information for use in visit and post-visit activities. The Visit step is focused on information gathering. This is a time for the students to explore and read the exhibit content, enjoy audio samples, and utilize interactive components. The activity worksheets included in this section will help students gather enough information to apply their knowledge in a later classroom activity. With all activities and worksheets, students can work individually or in groups. The Post-visit step consists of ideas and activities to implement after your return to the classroom. -
ECFG-Croatia-2021R.Pdf
About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the cultural dimension of your assigned location and gain skills necessary for ECFG success (Photo: The Dalmatian coastal town of Primošten). The guide consists of 2 parts: of Republic Part 1 is the “Culture General” section, which provides the foundational knowledge you need to operate effectively in any global environment with a focus on Southeast Europe. Part 2 is the “Culture Specific” section, which describes unique cultural features of Croatian society. It applies culture-general concepts to help increase your knowledge of your assigned deployment location. This section is designed to complement other pre-deployment Croatia training (Photo: A display of bread in a fire pit in Dalmatia, Croatia). For further information, contact the AFCLC Region Team at [email protected] or visit the AFCLC website at https://www.airuniversity.af.edu/AFCLC/. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in tit le, content, or labeling. It may be reproduced in its current format with the express permission of the AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources. GENERAL CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments. A culture is the sum of all of the beliefs, values, behaviors, and symbols that have meaning for a society. -
1 Box 12 Abbot, John M. La Coralie Polka Schottisch. Composed for And
Box 12 Abbot, John M. La Coralie polka schottisch. Composed for and respectfully dedicated to Miss Kate E. Stoutenburg. For solo piano. New York: J. E. Gould and Co., 1851. Abbot, John M. La reve d’amour. For solo piano. New York: William Hall & Son, 1858. 3 copies. L’Aboyar. La coquetterie polka facile. For solo piano. Boston: Oliver Ditson, 1853. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. New York: James L. Hewitt & Co., [s.d.]. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. Boston: C. Bradlee, [s.d.].. Adam, A. Hungarian flag dance. Danced by forty-eight Danseuses Viennoises at the principal theatres in Europe and the United States. For solo piano. Arranged by Edward L. White. Boston: Stephen W. Marsh, 1847. Adams, A.M. La petite surprise! For solo piano. New York: W. Dubois, [s.d.]. Adams, G. Molly put the kettle on. For solo piano. Boston: Oliver Ditson, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss. R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: William Hall & Son, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: Firth, Hall, and Pond, [between 1846 and 1847]. Adams, J.B. Sunbeam polka. For solo piano. Boston: Oliver Ditson, 1853. Adams, J. Willard. Dream life polka. Composed and most respectfully dedicated to the Ladies of Fredericksburg, PA. For solo piano. New York: Firth, Pond, and Co., 1852.