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Rhythm Bones Player a Newsletter of the Rhythm Bones Society Volume 10, No
Rhythm Bones Player A Newsletter of the Rhythm Bones Society Volume 10, No. 3 2008 In this Issue The Chieftains Executive Director’s Column and Rhythm As Bones Fest XII approaches we are again to live and thrive in our modern world. It's a Bones faced with the glorious possibilities of a new chance too, for rhythm bone players in the central National Tradi- Bones Fest in a new location. In the thriving part of our country to experience the camaraderie tional Country metropolis of St. Louis, in the ‗Show Me‘ state of brother and sisterhood we have all come to Music Festival of Missouri, Bones Fest XII promises to be a expect of Bones Fests. Rhythm Bones great celebration of our nation's history, with But it also represents a bit of a gamble. We're Update the bones firmly in the center of attention. We betting that we can step outside the comfort zones have an opportunity like no other, to ride the where we have held bones fests in the past, into a Dennis Riedesel great Mississippi in a River Boat, and play the completely new area and environment, and you Reports on bones under the spectacular arch of St. Louis. the membership will respond with the fervor we NTCMA But this bones Fest represents more than just have come to know from Bones Fests. We're bet- another great party, with lots of bones playing ting that the rhythm bone players who live out in History of Bones opportunity, it's a chance for us bone players to Missouri, Kansas, Illinois, Oklahoma, and Ne- in the US, Part 4 relive a part of our own history, and show the braska will be as excited about our foray into their people of Missouri that rhythm bones continue (Continued on page 2) Russ Myers’ Me- morial Update Norris Frazier Bones and the Chieftains: a Musical Partnership Obituary What must surely be the most recognizable Paddy Maloney. -
Compton Music Stage
COMPTON STAGE-Saturday, Sept. 18, FSU Upper Quad 10:20 AM Bear Hill Bluegrass Bear Hill Bluegrass takes pride in performing traditional bluegrass and gospel, while adding just the right mix of classic country and comedy to please the audience and have fun. They play the familiar bluegrass, gospel and a few country songs that everyone will recognize, done in a friendly down-home manner on stage. The audience is involved with the band and the songs throughout the show. 11:00 AM The Jesse Milnes, Emily Miller, and Becky Hill Show This Old-Time Music Trio re-envisions percussive dance as another instrument and arrange traditional old-time tunes using foot percussion as if it was a drum set. All three musicians have spent significant time in West Virginia learning from master elder musicians and dancers and their goal with this project is to respect the tradition the have steeped themselves in while pushing the boundaries of what old-time music is. 11:45 AM Ken & Brad Kolodner Quartet Regarded as one of the most influential hammered dulcimer players, Baltimore’s Ken Kolodner has performed and toured for the last ten years with his son Brad Kolodner, one of the finest practitioners of the clawhammer banjo, to perform tight and musical arrangements of original and traditional old-time music with a “creative curiosity that lets all listeners know that a passion for traditional music yet thrives in every generation (DPN).” The dynamic father-son duo pushes the boundaries of the Appalachian tradition by infusing their own brand of driving, innovative, tasteful and unique interpretations of traditional and original fiddle tunes and songs. -
The History and Evolution of Clogging
The History and Evolution of Clogging An Honors Thesis (HONRS 499) by Lindsay Schultz Thesis Advisor Ball State University Muncie, Indiana Presented: December 2009 Graduation: May 2010 · .::: 'I Abstract Dancing is a wonderful way for people to express themselves. There are so many styles of dance in our world today, and each ofthese dance styles had to evolve from something before it. That is how a new dance is born. Old styles of dance are changed or combined to form something new and different. In order for everyone to appreciate dance, it is important for them to be exposed to many styles of dance and learn how it evolved. This helps people understand why each dance style is special and unique. Clogging is one style of dance that is not as well known in the United States by most people in the general public. This thesis project is made to showcase this wonderful style of dance as well as educate the public about what clogging is and where it came from. I will present the findings from my research about the evolution of clogging, show a video of traditional Irish dancing (which greatly influenced clogging), as well as perform a modem clogging routine I choreographed myself. I want everyone to hear about the history as well as see what clogging looks like today in order to gain a greater appreciation for this special dance style. 2 Acknowledgments -I would like to thank Mr. Greg Lund for working with me as my advisor on this project. He was helpful in providing ideas, research materials, and a place for me to showcase my thesis project. -
Illustrated Flora of East Texas Illustrated Flora of East Texas
ILLUSTRATED FLORA OF EAST TEXAS ILLUSTRATED FLORA OF EAST TEXAS IS PUBLISHED WITH THE SUPPORT OF: MAJOR BENEFACTORS: DAVID GIBSON AND WILL CRENSHAW DISCOVERY FUND U.S. FISH AND WILDLIFE FOUNDATION (NATIONAL PARK SERVICE, USDA FOREST SERVICE) TEXAS PARKS AND WILDLIFE DEPARTMENT SCOTT AND STUART GENTLING BENEFACTORS: NEW DOROTHEA L. LEONHARDT FOUNDATION (ANDREA C. HARKINS) TEMPLE-INLAND FOUNDATION SUMMERLEE FOUNDATION AMON G. CARTER FOUNDATION ROBERT J. O’KENNON PEG & BEN KEITH DORA & GORDON SYLVESTER DAVID & SUE NIVENS NATIVE PLANT SOCIETY OF TEXAS DAVID & MARGARET BAMBERGER GORDON MAY & KAREN WILLIAMSON JACOB & TERESE HERSHEY FOUNDATION INSTITUTIONAL SUPPORT: AUSTIN COLLEGE BOTANICAL RESEARCH INSTITUTE OF TEXAS SID RICHARDSON CAREER DEVELOPMENT FUND OF AUSTIN COLLEGE II OTHER CONTRIBUTORS: ALLDREDGE, LINDA & JACK HOLLEMAN, W.B. PETRUS, ELAINE J. BATTERBAE, SUSAN ROBERTS HOLT, JEAN & DUNCAN PRITCHETT, MARY H. BECK, NELL HUBER, MARY MAUD PRICE, DIANE BECKELMAN, SARA HUDSON, JIM & YONIE PRUESS, WARREN W. BENDER, LYNNE HULTMARK, GORDON & SARAH ROACH, ELIZABETH M. & ALLEN BIBB, NATHAN & BETTIE HUSTON, MELIA ROEBUCK, RICK & VICKI BOSWORTH, TONY JACOBS, BONNIE & LOUIS ROGNLIE, GLORIA & ERIC BOTTONE, LAURA BURKS JAMES, ROI & DEANNA ROUSH, LUCY BROWN, LARRY E. JEFFORDS, RUSSELL M. ROWE, BRIAN BRUSER, III, MR. & MRS. HENRY JOHN, SUE & PHIL ROZELL, JIMMY BURT, HELEN W. JONES, MARY LOU SANDLIN, MIKE CAMPBELL, KATHERINE & CHARLES KAHLE, GAIL SANDLIN, MR. & MRS. WILLIAM CARR, WILLIAM R. KARGES, JOANN SATTERWHITE, BEN CLARY, KAREN KEITH, ELIZABETH & ERIC SCHOENFELD, CARL COCHRAN, JOYCE LANEY, ELEANOR W. SCHULTZE, BETTY DAHLBERG, WALTER G. LAUGHLIN, DR. JAMES E. SCHULZE, PETER & HELEN DALLAS CHAPTER-NPSOT LECHE, BEVERLY SENNHAUSER, KELLY S. DAMEWOOD, LOGAN & ELEANOR LEWIS, PATRICIA SERLING, STEVEN DAMUTH, STEVEN LIGGIO, JOE SHANNON, LEILA HOUSEMAN DAVIS, ELLEN D. -
Traditions Music Black Secularnon-Blues
TRADITIONS NON-BLUES SECULAR BLACK MUSIC THREE MUSICIANS PLAYING ACCORDION, BONES, AND JAWBONE AT AN OYSTER ROAST, CA. 1890. (Courtesy Archives, Hampton Institute) REV JAN 1976 T & S-178C DR. NO. TA-1418C © BRI Records 1978 NON-BLUES SECULAR BLACK MUSIC been hinted at by commercial discs. John Lomax grass, white and black gospel music, songs for IN VIRGINIA and his son, Alan, two folksong collectors with a children, blues and one anthology, Roots O f The Non-blues secular black music refers to longstanding interest in American folk music, Blues devoted primarily to non-blues secular ballads, dance tunes, and lyric songs performed began this documentation for the Library of black music (Atlantic SD-1348). More of Lomax’s by Afro-Americans. This music is different from Congress in 1933 with a trip to the State recordings from this period are now being issued blues, which is another distinct form of Afro- Penitentiary in Nashville, Tennessee. On subse on New World Records, including Roots Of The American folk music that developed in the deep quent trips to the South between 1934 and 1942, Blues (New World Records NW-252). * South sometime in the 1890s. Blues is character the Lomaxes cut numerous recordings, often at In recent years the emphasis of most field ized by a twelve or eight bar harmonic sequence state prisons, from Texas to Virginia.2 They researchers traveling through the South in search and texts which follow an A-A-B stanza form in found a surprising variety of both Afro-American of Afro-American secular music has been on the twelve bar pattern and an A-B stanza form in and Anglo-American music on their trips and blues, although recorded examples of non-blues the eight bar pattern. -
Beginning Clogging Level 1
BEGINNING CLOGGING: LEVEL I Welcome to the Beginning Clogging: Level I Class. Thank you for coming. Our class will be held one hour per week for six weeks. There are eight basic steps in clogging; in this session you will learn four of those eight steps, as well as other pertinent information about clogging. The following pages of this booklet describe clogging "on paper", and will be useful in remembering the steps I teach. Also, you may want to make notes that could be helpful later on. I hope you enjoy the class and thank you again for coming. Kelli McChesney, National Instructor Gainesville, Florida [email protected] http://www.kellimcchesney.com/ A BRIEF HISTORY OF CLOGGING Written and researched by Kelli McChesney Clogging is a folk dance similar to tap and Irish step dancing. It is making rhythmic tapping sounds with the feet. Clogging is said to have originated in the Lancashire regions of England during the Industrial Revolution. Mill workers during this time wore wooden shoes, called "clogs," to protect their feet from the harsh environment. After getting off work, the workers danced on the stone streets in small contests to see who could make the most intricate sounds. Often they tried to imitate the sounds the mill machines made. As the speed of the steps increased, the clogs proved to be dangerous and were replaced with soft leather shoes with hard soles. English copper pennies were then screwed on the heels and toes of the shoes to emphasize the sounds. Eventually, the pennies were replaced with metal "taps." With influences of many European folk dances, clogging has evolved through the years into different styles. -
Country Dance and Song and Society of America
I ,I , ) COUNTRY DANCE 1975 Number 7 Published by The Country Dance and Song AND Society of America EDITOR J. Michael Stimson SONG COUNTRY DANCE AND SONG is published annually. Subscription is by membership in the Society. Members also receive occasional newsletters. Annual dues are $8 . 00 . Libraries, Educational Organi zations, and Undergraduates, , $5.00. Please send inquiries to: Country Dance and Song Society, 55 Christopher Street, New York, NY 10014. We are always glad to receive articles for publication in this magazine dealing with the past, present or future of traditional dance and music in England and America, or on related topics . PHOTO CREDITS P. 5 w. Fisher Cassie P. 12 (bottom) Suzanne Szasz P. 26 William Garbus P. 27 William Garb us P. 28 William Garb us CONTENTS AN INTERVIEW WITH MAY GADD 4 TRADITION, CHANGE AND THE SOCIETY Genevieve Shimer ........... 9 SQUARE DANCING AT MARYLAND LINE Robert Dalsemer. 15 Copyright€>1975 by Country Dance Society, Inc. SONGFEST AND SLUGFEST: Traditional Ballads and American Revolutionary Propaganda Estelle B. Wade. 20 , CDSS REVISITS COLONIAL ERA • . • . • . • . • • . 26 TWO DANCES FROM THE REVOLUTIONARY ERA Researched by James Morrison ..................••. 29 CHEERILY AND MERRILLY: Our Music Director's Way with Singing Games and Children Joan Carr.............. 31 STAFF AND LEADERS'CONFERENCE Marshall Barron .•.......... 35 SALES James Morrison ............. 40 CDSS CENTERS .•......•.............•••.. 49 A: Well, they didn't have bands so much. Cecil Sharp was a mar velous piano player, AN INTERVIEW WITH and he had a wonder ful violinist, Elsie Avril, who played with him right from the be MAY GADD... ginning. We had just piano and violin in those days for all but the big theater This is the first part of an interview by Joseph Hickerson, performances. -
American Square Dance Vol. 42, No. 6 (June 1987)
AMERICAN 0 Annual $10.00 SQUARE DANCE Single Copy $1.25 JUNE 1987 36th NATIONAL SQUARE DANCE CONVENTION HOUSTON, TEXAS JUNE 25-27,1987 WAGON WHEEL RECORDS 8459 Edmaru Ave., Whittier CA 90605 (213-693-5976) Vit WAGON WHEEL EASY SINGING CALLS AND CONTRAS Basics 1-25 Suitable for one-night stands and the community square dance program. 45 rpm flip/inst. Calling by Bob Ruff 911 Gentle On my Mind Basics 1-8 918 Glendale Train Basics 1-19 912 Bad Bad Leroy Brown Basics 1-8 919 Big Sombrero Contra Basics 1-19 913 Engine 9 Basics 1-14 921 Shindig In The Barn Basics 1-22 914 Hey Lei Lee, Lei Lee Basics 1-8 922 King Of the Road Basics 1-9 915 If They Could See Me Now Basics 1-17 923 Mississippi Basicsl-25 916 Long Lonesome Highway Basics 1-22 924 Houston Basics 1-17 917 Robinson Crusoe Basics 1-16 929 Shortnin' Contra Basics 1-19 SPECIAL FREE OFFER, No. 1 With your purchase of any of the above we will include an equal number of records with Mainstream basics—FREE. Call or write for a free catalog. INSTRUCTIONAL LP'S FOR SCHOOLS & NEW DANCERS: Calling by BOB RUFF THE FUNDAMENTALS OF SQUARE DANCING, Levels 1,2, & 3. Basics 1-35. These albums are used in school programs in all 50 states and most provinces of Canada. They are used worldwide to give new dancers practice in the basics. SPECIAL FREE OFFER, No. 2 With your purchase of these three albums we will include (FREE) THE FUNDAMENTALS OF SQUARE DANCING Party Series, Level 1, LP 6501 ($9.95 value). -
Allan Friedman, Artistic Director • Deborah Coclanis, Accompanist Women’S Voices Chorus Cheek to Cheek Saturday, May 2, 2009, 2:00 P.M
Allan Friedman, Artistic Director • Deborah Coclanis, Accompanist Women’s Voices Chorus Cheek to Cheek Saturday, May 2, 2009, 2:00 p.m. Chapel Hill Bible Church, Chapel Hill, North Carolina Allan Friedman, Artistic Director Please turn off your pagers, cell phones, and watch alarms ~Program~ Salmo 150 Ernani Aguiar (b. 1950) Il Ballerino Giovanni Gastoldi (1555-1622) Dancing Scott A. Tucker (b. 1957) To Be Sung on the Water Samuel Barber (1910-1981) Chamber Choir Liebeslieder-Waltzer and Neue Liebeslieder Johannes Brahms (1833-1897) Vögelein, #13 in A-flat Wie des Abends, #4 in F Nein, Geliebter, #13 in E Igraj Kolce Slovenian Folksong, Arr. Jakob Jež (b. 1928) Judy Moore, Soloist Dravidian Dithyramb Victor Paranjoti (1906-1967) Gaurangi Priya Gopal and Anandi Salinas, Bharata-Natyam Dance; Chamber Choir Balalaika Georgy Sviridov (1915-1998) A Rosebud in June Leslie R. Bell (1906-1962) Shady Grove Southern Appalachian Folk Song Arr. Shirley W. McRae Elia Bizzarri and Elizabeth Raines, Cloggers 2 ~15 minute Intermission~ Mouth Music Dolores Keane and John Faulkner Cailyn Pozella, Irish Dance Innoria (Huron Dance Song) Arr. Donald Patriquin (b. 1938) Tximeletak Eva Ugalde (b. 1973) Chamber Choir El Monigote Venezuelan Folk Song Arr. Diana V. Sáez Tango Dada James G. Smith (b. 1935) Chamber Choir Cheek to Cheek Irving Berlin (1888-1989), Arr. Kirby Shaw Oksana Klyuchnyk and Yuriy Simakov, Fox Trot; Allison Mangin and Ashley Oskardmay, Soloists Begin the Beguine Cole Porter (1891-1964) Arr. Wayne Howorth It Don’t Mean A Thing Duke Ellington (1899-1974) Oksana Klyuchnyk and Yuriy Simakov, Quick Step + + + + + + + + + + + + + + + + + + + + + + + About Women’s Voices Chorus Women’s Voices Chorus, Inc. -
FREE CONCERTS JOIN US for Music in the Garden Wednesdays at 7 P.M
FREE CONCERTS JOIN US FOR Music in the Garden Wednesdays at 7 p.m. in the Murie Building Auditorium Thursdays at 7 p.m. in the Georgeson Botanical Garden The Fairbanks Red Hackle Pipe Band Emily Anderson JULY 6 Emily’s a local Indie/Folk singer- songwriter and a graduate of Berklee College of Music. Her music, influenced by Carole King, Ingrid Michaelson, and Regina Spektor, MAY 25 For over thirty years this band has shared its love ranges from sentimental to humorous. for Highland piping, drumming, and dance. Dry Cabin String Band Headbolt Heaters JULY 13 Dry Cabin String Band JUNE 1 These three songwriters’ plays and sings hard driving, eclectic sound taps into roots, rock, traditional bluegrass, featuring blues, bluegrass and an underbelly guitar, fiddle, banjo, and bass. of punk. FSAF Celtic Ensemble O Tallulah JULY 20 Revel in the unique JUNE 8 This family trio of sights and sounds of singer-songwriters, home traditional Irish music with grown in the Golden Heart of tin whistle, Irish guitar, Alaska, performs classic bodhrán, Irish flute, bones and Irish dancing. country, folk and gospel. FSAF Brazilian Ensemble Marc Brown & The Blues Crew JULY 27 Jamie Maschler on JUNE 15 Marc, a Koyukon accordion and Finn Magill on Athabascan, and his band have 12 fiddle bring the lively spirit of CDs and have blown away regional Brazilian music to Fairbanks. and national competitions. Fairbanks Community Jazz Band Rock Bottom Stompers AUGUST 3 This traditional Big JUNE 22 Rock Bottom Stompers Band and its guests mix swing era bring to you soulful, stompable tunes dance tunes with Latin, Bop, and featuring sweet lonesome harmonies. -
A Quartet of Clogging's Top Dancers Take to Social Media with a Series
The Magazine of Clogging Since 1983 TIMES DOUBLETOEwww.doubletoe.com January 2014 THE METRONOMES A Quartet of Clogging’s Top Dancers Take to Social Media with a Series of Killer Steps DOUBLETOE July/Augustfoot 2010print Clogging GroupJanuary Trips 2014 In This Issue Lee Froehle has been coordinating clogging trips and Ain’tIndex ......................................................................................... That a Trip? 2 tours for more than a decade and has taken her own Editorial “Changing Channels” ...........................................4 This September, I will have the honor of teaching groups to Europe, DisneyIn and This around the IssueU.S. She Calendar of Events ...................................................................6 has also organized Clogging Expos for over 1,000 withVirginia my friend Clogger Shane Dorothy Gruber Stephenson at the 25th ........................ anniversary 8 Index .........................................................................................people in Washington, DC, plus Hawaii. Ireland, 2 onCherryholmes the Renegade Interview Quicksteppers ................................................ of Stuttgart, 14 EditorialScotland “Ain’t and Thatmore. a Trip?”Whether ........................................... you are a small group 2 Germany.Dancers in In Action the days Photo prior Contest to the workshop, .............................. we will23 The Metronomeswanting a fun trip, ................................................................. a cruise for a few families or a 4 -
Paradigmatic of Folk Music Tradition?
‘Fiddlers’ Tunebooks’ - Vernacular Instrumental Manuscript Sources 1860-c1880: Paradigmatic of Folk Music Tradition? By: Rebecca Emma Dellow A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music June 2018 2 Abstract Fiddlers’ Tunebooks are handwritten manuscript books preserving remnants of a largely amateur, monophonic, instrumental practice. These sources are vastly under- explored academically, reflecting a wider omission in scholarship of instrumental music participated in by ‘ordinary’ people in nineteenth-century England. The tunebooks generate interest amongst current folk music enthusiasts, and as such can be subject to a “burden of expectation”,1 in the belief that they represent folk music tradition. Yet both the concepts of tradition and folk music are problematic. By considering folk music from both an inherited perspective and a modern scholarly interpretation, this thesis examines the place of the tunebooks in notions of English folk music tradition. A historical musicological methodology is applied to three post-1850 case-study manuscripts drawing specifically on source studies, archival research and quantitative analysis. The study explores compilers’ demographic traits and examines content, establishing the existence of a heterogeneous repertoire copied from contemporary textual sources directly into the tunebooks. This raises important questions regarding the role played by publishers and the concept of continuous survival in notions of tradition. A significant finding reveals the interaction between aural and literate practices, having important implications in the inward and outward transmission and in wider historical application. The function of both the manuscripts and the musical practice is explored and the compilers’ acquisition of skill and sources is examined.