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In Collaboration with CSTM/SCTM
FEREN CON CE PROGRAM laboration with CSTM/ In col SCTM IC TM 2011 WE’RE PROUD TO WELCOME THE 41ST WORLD CONFERENCE OF ICTM to Memorial University and to St. John’s, Newfoundland and Labrador. This is a unique corner of Canada, the only part that was once an independent country and then the newest Canadian province (since 1949) but one of the oldest meeting points for natives and new- comers in North America. With four Aboriginal cultures (Inuit, Innu, Mi’kmaq, Métis); deep French, English, Irish, and Scottish roots; and a rapidly diversifying contemporary society, our citizens have shared a dramatic history, including a tsunami, an occupation during WWII, a fragile dependence on the sea including a cod moratorium in recent decades, a key role in the events of 9/11, and more recently, an oil boom. Its nickname – The Rock – tells a lot about its spectacular geography but also about its resilient culture. Traditional music and dance are key ingredients in life here, as we hope you will learn in the week ahead. Our meetings will take place at Memorial University, shown in the foreground of the photo below, and in the Arts & Culture Centre just to the west of the campus. To celebrate the conference themes in music itself, and to bring the public in contact with the remarkable range of scholars and musicians in our midst, we have organized the SOUNDshift Festival to run concurrently with the World Conference of ICTM. Five concerts, open to delegates and the general public, workshops by ICTM members and musicians featured on the concerts, and films are available as part of this festival. -
East St Music a Nominees
CONGRATULATIONS TO ALL· EAST ST MUSIC A NOMINEES . FROM ST. JOHN'S, NEWFOUNDLAND FEBRUARY 10-13 SHOWCASES Thursday, Friday & Saturday Radisson Plaza Hotel, Salon A 9:00 pm - midnight Cat & Fiddle 10 :00 pm - midnight Irish Centre (184 Water Street) 1:00am-2:30am ROAST SAM "THE RECORD MAN" Radisson Plaza Hotel, Salon B Friday, February 11 at Noon CONFERENCE Radisson Plaza Hotel Friday 10:00 am - 5:00 pm Saturday 9:00 am - 5:30 pm INDUSTRY TRADE SHOW Radisson Plaza Hotel, Salon B & C Saturday, February 12, 11 :00 am - 7:00 pm SUNDAY ALL-AGES SHOW LSPU Hall 1 :30 pm - 4:30 pm AWARDS SHOW Sunday, February 13 St. John's Arts & Cultu.·e Centre 8:00pm (CBC Television logo?) All-Atlantic broadcast begins 1 0:00 pm in the Maritimes, 1 0:30 pm in Newfoundland HOSTED BY CATHY JONES & TOM GALLANT Featuring performances by: Les Mechants Maquereaux • Lennie Gallant Cathy Jones • Barra MacNeils Hardship Post • Tom Gallant Ron Hynes • Rawlins Cross East Coast Fiddle Ceilidh Finale ., - • , .,.,... - • ~ , • tl r - - .1 ,.. -..... "., ·J ) _..- . Ait' Allan tic is a J)r<ntcl SJ)<>JlS< >r <)f the ArL~ in Atlantic (~anada. l-Ielpit1g Perforn1ers, ArtisL" atlcl Wrilct s achieve tl1cir goals and fulfill tl1eir clrean1s. We SUfJporl tltcir aSJJiratiotls because we sl"lare the san1.e ccnntnitn1ent to excellet1ce anc1 because we believe tl1.at dedicatic)n to a11 ideal is ar1 art i11. il'~clf. ntic · Canadi>n 2 Board of Directors WELCOME Chair On behalf of the Board of Directors of the East Coast Glen Tilley Music Association, I would like to welcome you to the 1994 East Coast Music Awards/Conference. -
Symphony Nova Scotia Fonds (MS-5-14)
Dalhousie University Archives Finding Aid - Symphony Nova Scotia fonds (MS-5-14) Generated by the Archives Catalogue and Online Collections on January 24, 2017 Dalhousie University Archives 6225 University Avenue, 5th Floor, Killam Memorial Library Halifax Nova Scotia Canada B3H 4R2 Telephone: 902-494-3615 Email: [email protected] http://dal.ca/archives http://findingaids.library.dal.ca/symphony-nova-scotia-fonds Symphony Nova Scotia fonds Table of contents Summary information ...................................................................................................................................... 4 Administrative history / Biographical sketch .................................................................................................. 4 Scope and content ........................................................................................................................................... 5 Notes ................................................................................................................................................................ 5 Access points ................................................................................................................................................... 6 Collection holdings .......................................................................................................................................... 7 Administration and finance records of Symphony Nova Scotia (1984-2003) ............................................. 7 Budgets records of Symphony -
Papa Haydn Soundtracks Live Valentine's Special
Photographer: Lisa Marie Mazzucco Bella Hristova, violin PAPA HAYDN SOUNDTRACKS LIVE wso.ca I 204-949-3999 VALENTINE’S SPECIAL MESSAGE FROM THE CHAIR OF THE WSO BOARD As the New Year begins, let me wish you all a very happy and healthy year. And, a musical year.What better way is there to bring happiness into your life than with music, especially the music of our own, fabulous WSO? I would like to introduce myself as the new President of the Board of Directors.This is my sixth year as a member of the Board and my first as President. Music has always been a part of my life. My tastes are eclectic, ranging from “old-school”rock and roll to folk to jazz and opera, and, of course, classical. Giving back to my community is also something that is important in my life. So, when, I was asked to join the Board of the Symphony, in 2011, I didn’t hesitate.To be chosen, this past September, as President of one of the jewels of Winnipeg’s renowned cultural scene is a great honour. The Board has two principal roles. One is to provide oversight of the management of the Orchestra to ensure that it continues to operate.The fact that, in a few weeks, it will be seventy years since the incorporation of the WSO attests to the success of past and present Boards in this goal.The second responsibility is to play a significant role in ensuring financial stability.The WSO depends on three sources of income: ticket sales, government grants and charitable donations.With much competition for entertainment dollars, there is a limit to the amount to be raised through ticket sales.With so many demands on public resources, the same is true of government funding. -
Feb Ru Ary 2019
9 1 0 2 y r a u r b e F z e n e m i J a i c r a G d i v a D PRINCE EDWARD ISLAND’S GUIDE TO WHAT’S GOING ON / BUZZPEI.COM Page 2 The BUZZ February 2019 The BUZZ February 2019 Page 3 Page 4 The BUZZ February 2019 Profile: Grace Kimpinski by Jane Ledwell tival’s “creativity and energy,” and com - munal spirit. “The Fringe is fun and unique in the sense that it’s non-tradi - tional theatre in non-traditional spaces – it adds a rawness to it. Also, there is a cool group of people associated with the The Producer Fringe, and I’m pretty boring day to day,” she smiles. Grace was an English major but admits drama classes didn’t pique her interest. So how did she end up with theatre as “a side gig that takes up more time than my actual paid work”? Five years back, ACT PEI put on “plays in a day”: writers had 12 hours to write a play; directors had 12 hours to produce it. Grace signed up to the open call for performers. “It was so fun,” Grace recalls. When ACT later called for people to get into the production side of theatre, Grace signed up again, and has been producing theatre ever since. She is now also on the ACT board as director of the - atre, helping to recruit shows. And, independent of ACT, she produces shows herself. In February, the show is Raised on TV 3 , the third iteration of a sketch comedy show conceived by Grace’s friend Rod Weatherbie, inspired by television. -
Boy on Bridge – Alan Doyle Alan Doyle Always Loved the Spotlight
Boy On Bridge – Alan Doyle Alan Doyle always loved the spotlight. Although he was inclined to be the leader in anything he did, there was no place for a singer or guitar player in the Petty Harbour, NL school band, so he learned drums, all the better to make the maximum impact. He was just a teenager when he left home and moved to Newfoundland’s capital, St. John's. Although Alan pursued a BA in English and religion at Memorial University, music was his real passion. He honed his performing skills as a solo artist in the city’s pubs, standing on miniscule stages, belting out folk songs and the classic rock for the rowdy patrons. It was a rough musical education, but one from which he graduated with honours, developing the thick skin, utter fearlessness and iron larynx needed to go with his natural talent. In 1993, he joined forces with fellow pub warriors Sean McCann, Bob Hallett, and Darrell Power, and together they started Great Big Sea, where they fused Newfoundland traditional music with their own pop sensibilities. Doyle assumed the role of lead singer, and the band-mates began to assault the music business from their Newfoundland base. 19 years later, the band continues to astonish crowds around the world with their energy, musical skill and an ingrained inability to take themselves too seriously. A major band in Canada for a generation, their nine albums and two DVD releases have been declared Gold or Platinum. In the United States they are considered a major concert attraction, and play sold out theatres and hockey arenas across the continent. -
Change and Stability in Irish-American-Newfoundland Fiddle Tunes Evelyn Osborne
studying culture in context Change and stability in Irish-American-Newfoundland fiddle tunes Evelyn Osborne Excerpted from: Ón gCos go Cluas From Dancing to Listening Fiddle and Dance Studies from around the North Atlantic 5 Edited by Liz Doherty and Fintan Vallely First published in 2019 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN: 978-1-85752-073-6 About the author: Evelyn Osborne completed her PhD in Ethnomusicology at Memorial University of Newfoundland in 2013; she holds a Bachelor of Music (Violin, University of Ottawa) and a MA in Canadian Studies (Carleton). Her research examines the construction of Newfoundland as an Irish musical place through media and the interactions of Irish and Newfoundland musicians since the mid-twentieth century. Osborne is a performer and teacher in St. John’s, NL and has given Newfoundland fiddle and dance workshops in Newfoundland, Labrador, Ontario, Singapore, and Australia. Her publications include CD liner notes, academic websites, and journal articles. Copyright © 2019 the Elphinstone Institute and the contributors. While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 27 Change and stability in Irish-American- Newfoundland fiddle tunes EVELYN OSBORNE The fiddle music in Newfoundland and Labrador is a confluence of music from Scotland, Britain, Ireland and France, with a wide variety of influences from Canada and the United States. -
Celtic Celebration: Natalie Macmaster & Leahy
2007-2008 Student Matinee Concerts The National Arts Centre Orchestra presents CCeellttiicc CCeelleebbrraattiioonn:: NNaattaalliiee MMaaccMMaasstteerr && LLeeaahhyy Teacher Study Guide Grades 4 to 12 Table of Contents Welcome Teachers! Page 3 Concert Programme Page 4 About the Centre and the Performers Page 5 The National Arts Centre Page 5 The National Arts Centre Orchestra Page 6 Stéphane Laforest, conductor Page 7 Natalie MacMaster Page 7 Leahy Page 8 Programme Notes and Suggested Classroom Activities Page 9 A Short History of the Celtic Civilization Page 9 Information about Cape Breton Island Page 9 Classroom Activity ~ Geography Page 10 Music of Cape Breton Page 11 Classroom Activity ~ Composition Project #1 (easy) Page 12 Classroom Activity ~ Composition Project #1 (advanced Page 12 Step Dancing Page 13 Classroom Activity ~ Dance Page 14 Fun Facts about the Performers Page 14 Celtic Music for School Ensembles Page 15 How to Speak Gaelic Page 16 Resources and Links Page 17 Elements of Music Page 18 Performance Hall Etiquette Page 19 A Day in the Life of an Orchestra Musician Page 20 All about the Orchestra Page 21 Map of the NAC Orchestra Sections Page 22 Bibliography of Resources Available at the Ottawa Public Library Page 23 Nova Scotia Page 23 Prince Edward Island Page 24 Newfoundland and Labrador Page 24 East Coast Page 25 Acadians Page 26 Fiddles and Fiddling Page 27 Other available NAC Teacher Study Guides Page 28 This programme is made possible in part by the National Youth and Education Trust, which is supported by Founding Partner TELUS, Sun Life Financial, Bruce Power, Michael Potter and Véronique Dhieux, supporters and patrons of the annual NAC Gala and the donors of the NAC Foundation’s Corporate Club and Donors’ Circle. -
Fiddle Grooves
Fiddle Grooves: Identity, Representation, and the Sound of Cape Breton Fiddle Music in Popular Culture by Jeffrey James Hennessy A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Jeffrey James Hennessy 2008 Abstract Fiddle Grooves: Identity, Representation, and the Sound of Cape Breton Fiddle Music in Popular Culture Doctor of Philosophy, 2008 Jeffrey James Hennessy Graduate Department of Music University of Toronto This dissertation investigates Cape Breton fiddle music from a popular culture perspective. It introduces a conception of musical groove comprising two interrelated components: a social component wherein individual musical actors retain their own identities and relationships with the music while also uniting collectively in their response to the music, and a sonic component consisting of an acoustical repeating of a rhythmic idea that forms the metrical underpinning for a piece of groove music. Each of these two components is informed and mediated by the other. Cape Breton fiddle music is considered here as a form of groove-based popular music, similar to other groove musics. The two dimensions of the groove are analyzed in turn, revealing aspects of social identity, political and commercial representation, and processes of intercultural syncretism that have resulted in the evolution of the music within the pop culture mainstream. The dissertation is divided into two large sections. The first section concerns the social component of the Cape Breton fiddle groove, considering aspects of cultural representation, social identity, globalization and perceived external threats, and intersections with popular culture. The second section examines the sound of Cape Breton fiddle music as a form of groove-based music by first proposing a general model ii for the analysis of groove-based musics, and then applying the model to the Cape Breton fiddle context. -
1 Vernacular Song, Cultural Identity, and Nationalism in Newfoundland
www.ucalgary.ca/hic/ · ISSN 1492-7810 2004 · Vol. 4, No. 1 Vernacular Song, Cultural Identity, and Nationalism in Newfoundland, 1920-1955 E. David Gregory Abstract Although a force in Newfoundland politics and culture, nationalist sentiment was not strong enough in 1948 to prevent confederation with Canada. The absence among many Newfoundlanders of a strong sense of belonging to an independent country was the underlying reason for Smallwood’s referendum victory. Most islanders were descendants of immigrants from either Ireland or the English West Country. Nowadays, they view themselves as Newfoundlanders first and foremost but it took centuries for that common identity to be forged. How can we gauge when that change from old (European) to new (Newfoundland) identity took place in the outport communities? Vernacular song texts provide one valuable source of evidence. Three collections of Newfoundland songs – Gerald Doyle’s The Old Time Songs and Poetry of Newfoundland, Elisabeth Greenleaf’s Ballads and Sea Songs from Newfoundland, and Maud Karpeles’ Folk Songs from Newfoundland – illuminate the degree to which by the late 1920s a Newfoundland song-culture had replaced earlier cultural traditions. These songs suggest that the island was still a cultural mosaic: some outports were completely Irish, others were English, and in a few ethnically-mixed communities, including St. John’s, there was an emergent, home-grown, patriotic song-culture. Cultural nationalism was still a minority tradition in the Newfoundland of 1930. Just as the separatist movement in Québec seems to be waning, the call for an independent Newfoundland appears once more to be finding resonance among sections of the province's population. -
A History of the CKCU Ottawa Folk Festival
A History of the Ottawa Folk Festival by Joyce MacPhee and Ottawa Folk Festival Volunteers INTRODUCTION ............................................................................................................................................... 2 OTTAWA FOLK FESTIVAL TIMELINE ............................................................................................................. 3 YEAR 1 – 1994 ................................................................................................................................................... 6 YEAR 2 – 1995 ................................................................................................................................................... 8 YEAR 3 – 1996 ................................................................................................................................................. 10 YEAR 4 – 1997 ................................................................................................................................................. 13 YEAR 5 – 1998 ................................................................................................................................................. 16 YEAR 6 – 1999 ................................................................................................................................................. 20 YEAR 7 – 2000 ................................................................................................................................................. 25 YEAR 8 – 2001 ................................................................................................................................................ -
Striking a New A-Chord
PHOTO BY CHRISTINE ROENSPEISS CHRISTINE BY PHOTO STRIKING A NEW A-CHORD RECOMMENDATIONS FOR THE GROWTH & DEVELOPMENT OF CANADA’S EAST COAST MUSIC INDUSTRY This report was commissioned by the East Coast Music Association (ECMA), Music Canada, and Music Canada Live. The authors of this report would like to thank the many people who generously contributed their time and expertise to this research. Many, if not all, of the interviewees are, or have been, engaged in the music sector in multiple capacities. As a result, this report has been enriched by the depth of their experience and their ability to speak from multiple perspectives. The support of the five Music Industry Associations (MIAs)—Music Newfoundland (MusicNL), Music Prince Edward Island (Music PEI), Music Nova Scotia, the Cape Breton Music Industry Cooperative (CBMIC), and Music New Brunswick (Music NB)—has been instrumental and will be invaluable in ensuring that the recommendations in this report are realized. FOREWARD On behalf of the East Coast Music Association, Music Canada, and Music Canada Live we are pleased to present this study of the Atlantic Canadian music sector to our colleagues in music, government, and business throughout the region. Atlantic Canada is home to an intensely proud and Policy makers at all levels of government, music industry vibrant music community, and the regions share a rich leaders, and community groups will find value in this cultural history. The East Coast continues to produce report as a resource to better understand the strengths, talented artists, musicians, and industry professionals who weaknesses, challenges, and opportunities within the experience a strong sense of comradery, among many East Coast music sector.