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Sweden As a Crossroads: Some Remarks Concerning Swedish Folk
studying culture in context Sweden as a crossroads: some remarks concerning Swedish folk dancing Mats Nilsson Excerpted from: Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger First published in 2008 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-5-7 About the author: Mats Nilsson works as a senior lecturer in folklore and ethnochoreology at the Department of Ethnology, Gothenburg University, Sweden. His main interest is couple dancing, especially in Scandinavia. The title of his1998 PhD dissertation, ‘Dance – Continuity in Change: Dances and Dancing in Gothenburg 1930–1990’, gives a clue to his theoretical orientation. Copyright © 2008 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/. 8 Sweden as a crossroads: some remarks concerning Swedish folk dancing MATS NILSSON his article is an overview of folk dancing in Sweden. The context is mainly the Torganised Swedish folk-dance movement, which can be divided into at least three subcultures. Each of these folk dance subcultural contexts can be said to have links to different historical periods in Europe and Scandinavia. -
Swedish Folk Music
Ronström Owe 1998: Swedish folk music. Unpublished. Swedish folk music Originally written for Encyclopaedia of world music. By Owe Ronström 1. Concepts, terminology. In Sweden, the term " folkmusik " (folk music) usually refers to orally transmitted music of the rural classes in "the old peasant society", as the Swedish expression goes. " Populärmusik " ("popular music") usually refers to "modern" music created foremost for a city audience. As a result of the interchange between these two emerged what may be defined as a "city folklore", which around 1920 was coined "gammeldans " ("old time dance music"). During the last few decades the term " folklig musik " ("folkish music") has become used as an umbrella term for folk music, gammeldans and some other forms of popular music. In the 1990s "ethnic music", and "world music" have been introduced, most often for modernised forms of non-Swedish folk and popular music. 2. Construction of a national Swedish folk music. Swedish folk music is a composite of a large number of heterogeneous styles and genres, accumulated throughout the centuries. In retrospect, however, these diverse traditions, genres, forms and styles, may seem as a more or less homogenous mass, especially in comparison to today's musical diversity. But to a large extent this homogeneity is a result of powerful ideological filtering processes, by which the heterogeneity of the musical traditions of the rural classes has become seriously reduced. The homogenising of Swedish folk music started already in the late 1800th century, with the introduction of national-romantic ideas from German and French intellectuals, such as the notion of a "folk", with a specifically Swedish cultural tradition. -
ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning. -
What Did They Sound Like?
Háskóli Íslands Hugvísindasvið Íslensk miðaldafræði What did they sound like? Reconstructing the music of the Viking Age Ritgerð til MA-prófs í íslenskum miðaldafræðum Chihiro Tsukamoto Kt.: 250493-3209 Leiðbeinandi: Þórir Jónsson Hraundal Janúar 2017 Abstract There has been much scholarship over the years regarding Scandinavian culture during the Viking Age (c. 793–1066 CE). However, often missing from these discussions is the study of music. This paper attempts to fill that gap by offering a reconstruction of Viking Age Scandinavian music. Archaeological evidence, literary records, and medieval music theories were used as the basis of this study. Archaeology indicates that Scandinavians played wind, string, and percussion instruments, while later Old Norse literary accounts detail the many circumstances wherein music was performed, and suggest the likely existence of different musical genres. I have consulted Arabic, Greek, and Latin accounts for contemporary sources, as the Scandinavian people did not have a written culture during this time. Marking a departure from typical historical analyses, I have also conducted a cross- cultural comparison of medieval Arabic, Greek, and Western European music theories in order to recognize what Scandinavian music could not have resembled. By combining archaeological, literary, and musical evidence, it is possible to propose a highly educated hypothesis on how Viking Age Scandinavian music may have sounded. Ágrip Mikið hefur verið rætt og ritað í gegnum árin um Skandinavíska menningu á Víkingaöld (um 793–1066 e.Kr.). Hins vegar er tónlist viðfangsefni sem oft virðist vanta í þessar umræður. Þessi ritgerð mun reyna að fylla það skarð með því að leggja fram tilgátu um endurgerð Skandinavískrar tónlistar frá Víkingaöld. -
Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years. -
The Fiddle Traditions the Violin Comes to Norway It Is Believed That The
The fiddle traditions The violin comes to Norway It is believed that the violin came to that violins from this period were Norway in the middle of the 1600s brought home by, amongst others, from Italy and Germany. This was Norwegian soldiers who fought in probably as a result of upper class wars in Europe. music activities in the towns. But, much suggests that fiddle playing was known in the countryside before this. Already around 1600 ‘farmer fiddles’ are described in old sources, and named fiddlers are also often encountered. We know of the Hardanger fiddle from the middle of the 1600s, which implies that a fiddle-making industry was already established in the countryside before the violin was popular in the Norwegian towns. Rural craftsmen in Norway must have acquired knowledge about this new instrument from 1500s Italy and been inspired by it. One can imagine From 1650 onwards, the violin quickly became a popular instrument throughout the whole of the country. We have clear evidence of this in many areas – from Finnmark, the rural areas of the West Coast and from inland mountain and valley districts. The fiddle, as it was also called, was the pop instrument of its day. There exist early descriptions as to how the farming folk amused themselves and danced to fiddle music. In the course of the 1700s, its popularity only increased, and the fiddle was above all used at weddings and festive occasions. Fiddlers were also prominent at the big markets, and here it was possible to find both fiddles and fiddle strings for sale. -
DER ROSENI(AVALIER Bv Richardstrauss
4ry"fi"A DER ROSENI(AVALIER bv RichardStrauss Our 201'1Season Sponsor is the ViterbiFamily. This production of Der Rosenkavalierisdedicated 'ln LovingMemory of Muriel S. Gluck'TitleSponsorship, and to TitleCo-Sponsors Carol Lazier and FayeWilson, Producers' Circle Sponsors Merle and TeresaFischlowitz and Ruthand Ron Leonardi. SanDiego Opera is pleasedto recognizeAmerican Express as our CorporateProducing partner. *A$-: .Til_-i-fii.i* : (in orderof vocalappearance) ACT I Octavian Anke Vondung- The Bedroomof the Marschallin The Marschallin Twyla Robinson. The Marschallin'sMajor-Domo John Duykers - 2O Minute lntermission - BaronOchs auf Lerchenau Andrew Greenan ACT ThreeNoble Orphans NatalieMann II Ava Baker Liss The GrandHall at HerrVon Faninal,s Cherylyn Larson - 2A Minute A lVilliner TiffanyCarmel lntermission - An AnimalTrainer Manuel PazCastillo ACT ill Valzacchi Joel Sorensen A PrivateRoom at an Inn A Singer Stephen Costello A Notary KevinLangan Annina HeleneSchneiderman. Therunning time is approximately 4 hours and g minutes, Herrvon Faninal l-{ans-Joachim Ketelsen. includingtwo 20-mlnuteintermissions. lVlarianneLeitmetzerin StephanieWeiss. Sceneryconslruction and painting \,ronFan inal's Major-Domo bythe San Francisco Simeon Esper OperaScenic Shop. Sophievon Faninal PatriziaCiofi. Costumes An lnnkeeper fabricatedby the San Francisco Opera Costume Simeon Esper Shop Footmenof the . Libretto Marschallin,/FourWaiters Andrew Bennett- by Hugovon Hofmannsthai. StephenBranch. Firstperformance was held in Dresdenon January Anthony Ballard 26,1911. MichaelBlinco. Castsubject to change. A PoliceCommissioner KevinLangan Leopold Matthew Roehl. Specialthanks to San Diego Museum of Art and Torrey Mohamet FrancisGoonan. PinesChristian Church and La Jolla CountryDay School,our 2011 CommunityConversation parrners Conductor Christof Perick for Der Rosenkavalier. Director Lotfi Mansouri ScenicDesigner ThierryBosquet CostumeDesigner ThierryBosquet ri:ftt- *fr Ltt\lt* il l].:*1il5 LightrngDesigner MichaelWhitfield Sunday April 3,2011 2pm Wig and MakeupDesigner StevenW. -
Passing of the Baton Stein Fjell Contacts Juletrefest
PASSING OF THE BATON JULETREFEST (CHRISTMAS TREE PARTY) Kathy Browne, President-Elect Sunday, December 8, 2 p.m., Loveland We are installing new and returning officers at the Come to Stein Fjell's Juletrefest and enjoy food, Jule- December meeting. It is important to have some continui- nisse, singing around the tree, the Christmas Story in Eng- ty in leadership roles, but it is equally critical to change lish and Norwegian, and more. It also is your last chance some of the key positions each year. Fresh perspectives this year to buy Christmas gifts at butikken. The Juletrefest and different styles provide vitality, which is important to will be held at King of Glory Lutheran Church, 2919 Wilson the survival of our lodge. This is true even when the out- Avenue, Loveland. going people have done an extraordinary job. Think of it Please call Barbara Nolin at 970.667.7641 by as a relay race where one runner is able to hand the baton December 2nd to let her know the number of on to the next runner, allowing the team to maintain its children you will be bringing, so Julenisse forward momentum for a longer time. The lodge is in can provide for them. Bring your children, need of a new editor for Posten. We could lose this critical your grandchildren, and/or your neighbor's communication link if no one steps in to accept the baton. children. Along with this annual changing of the guard is the For the potluck dinner, if your last name begins with need to confirm what lodge members are thinking. -
1974January.Pdf
m^WiMm-mi veneciGin BOtiDfly JANUARY 26 - 27, 1974 A VENETIAN HOLIDAY brings to mind Thoughts of Romance, Spaghetti, and Wine, Tambourines and Dancing, and of Gondolas on the Canals. The VENETIAN HOLIDAY, January 26 and 27, can't promise Spaghetti and Wine, and we can't flood the auditorium floor, BUT! we CAN promise you lots of Lively Dancing, with and without Tambourines! The PENINSULA FOLK DANCE COUNCIL Welcomes You to San Jose on January 26th for an Exciting Institute with NED and MARIAN GAULT, teaching two New Hungarian Dances, and with TOM KRUSKAL, teaching three English Dances, beginning at 1:00 PM. An Evening of Dance starts at 7:00 PM with a Kolo Hour, followed by General Folk Dancing, Squares, and Exhibitions unti1 MIDNIGHT. SUNDAY, January 27th, begins with the Federation Meeting at 11:45 AM, then at 1:30 PM, more Folk Dancing to watch and do. All activities take place at the SAN JOSE CIVIC AUDITORIUM, Market and San Carlos Streets, San Jose. We look forward to seeing you at our VENETIAN HOLIDAY! Brad Martin, President Peninsula Folk Dance Council •h^m4'mmm»mm!^w-- mmmmmmm ͣͣi;ii«iiiiiiiii ,n aiMfI (U (D nj "O TO 03 fD — (U < >~ (D (0 ,_ c ._ ._ ._ C > !- (T3 (D (D l/l tD (XI 03 C7) 4-1 C : (fl (D O O i < 3 (_> M 4^ 03 (» K S3 4^ 03 ^ a; ?^ 8 (U s S ?H O K « ft4 SJ CO 03 Eh 03 "Xj ?s (=1 03 CO 03 S « CO CO K ^(» t^ !n 6 (U 03 UJ O a 03 +^ s !^ .« 5s>+i 4-1 RQ a: ͣ^ Cs K < S T<i CO Ci => CB H^ v<i -t-» 03 « ^ =>, CO CJ -^ « Ci tC! CO O — 0) o" CO CS Co ^ S3 CO 4^ r<i - CO 03 y (A 03 ?N S 03 Co T<i 5 1? V^ ?H 03 C: v<i CO o -^ Cq S io CO fel Q ^ — a: kq ^c§g O (D < >~T3 < T3 — >. -
EGIL BAKKA, THERESA JILL BUCKLAND, Et Al
WALTZING THROUGH EUROPE B ALTZING HROUGH UROPE Attitudes towards Couple Dances in the AKKA W T E Long Nineteenth-Century Attitudes towards Couple Dances in the Long Nineteenth-Century EDITED BY EGIL BAKKA, THERESA JILL BUCKLAND, al. et HELENA SAARIKOSKI AND ANNE VON BIBRA WHARTON From ‘folk devils’ to ballroom dancers, this volume explores the changing recep� on of fashionable couple dances in Europe from the eighteenth century onwards. A refreshing interven� on in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across compara� vely narrow but W markedly heterogeneous locali� es. Rooted in inves� ga� ons of o� en newly discovered primary sources, the essays aff ord many opportuni� es to compare sociocultural and ALTZING poli� cal reac� ons to the arrival and prac� ce of popular rota� ng couple dances, such as the Waltz and the Polka. Leading contributors provide a transna� onal and aff ec� ve lens onto strikingly diverse topics, ranging from the evolu� on of roman� c couple dances in Croa� a, and Strauss’s visits to Hamburg and Altona in the 1830s, to dance as a tool of T cultural preserva� on and expression in twen� eth-century Finland. HROUGH Waltzing Through Europe creates openings for fresh collabora� ons in dance historiography and cultural history across fi elds and genres. It is essen� al reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms. E As with all Open Book publica� ons, this en� re book is available to read for free on the UROPE publisher’s website. -
Other Minds in Association with the Berkeley Art
OTHER MINDS IN ASSOCIATION WITH THE BERKELEY ART MUSEUM/ PACIFIC FILM ARCHIVE & THE MISSION DOLORES BASILICA PRESENTS OTHER MINDS FESTIVAL 22 FEBRUARY 18, 19 & MAY 20, 2017 MISSION DOLORES BASILICA, SAN FRANCISCO & BERKELEY ART MUSEUM/PACIFIC FILM ARCHIVE, BERKELEY 2 O WELCOME FESTIVAL TO OTHER MINDS 22 OF NEW MUSIC The 22nd Other Minds Festival is present- 4 Message from the Artistic Director ed by Other Minds in association with the 8 Lou Harrison Berkeley Art Museum/Pacific Film Archive & the Mission Dolores Basilica 9 In the Composer’s Words 10 Isang Yun 11 Isang Yun on Composition 12 Concert 1 15 Featured Artists 23 Film Presentation 24 Concert 2 29 Featured Artists 35 Timeline of the Life of Lou Harrison 38 Other Minds Staff Bios 41 About the Festival 42 Festival Supporters: A Gathering of Other Minds 46 About Other Minds This booklet © 2017 Other Minds, All rights reserved 3 MESSAGE FROM THE EXECUTIVE DIRECTOR WELCOME TO A SPECIAL EDITION OF THE OTHER MINDS FESTIVAL— A TRIBUTE TO ONE OF THE MOST GIFTED AND INSPIRING FIGURES IN THE HISTORY OF AMERICAN CLASSICAL MUSIC, LOU HARRISON. This is Harrison’s centennial year—he was born May 14, 1917—and in addition to our own concerts of his music, we have launched a website detailing all the other Harrison fêtes scheduled in his hon- or. We’re pleased to say that there will be many opportunities to hear his music live this year, and you can find them all at otherminds.org/lou100/. Visit there also to find our curated compendium of Internet links to his work online, photographs, videos, films and recordings. -
2016 NFF Brochure-March
Nordic Fiddles & Feet Music & Dance of Norway & Sweden Ogontz Camp, New Hampshire Sunday, June 26 – Sunday, July 3, 2016 From Norway: Knut Arne Jacobsen and Brit B. Totland – Dances and Songs from Valdres From Sweden: Tommy and Ewa Englund – Selected dances from Dalarna, Jämtland, Medelpad, & Hälsingland Stefhan Ohlström – Dance Fiddler Sunniva Abelli – Nyckelharpa, Songs from Västerbotten Caroline Eriksson – Swedish Fiddle From the United States: Roo Lester and Larry Harding - Scandinavian Dance Basics Bruce Sagan - Gammaldans band, Nyckelharpa Loretta Kelley - Hardanger Fiddle Andrea Larson – Beginning Fiddle Experience a magical week of music and dance in the beautiful White Mountains! Choose from daily classes in dancing, fiddle, nyckelharpa, Hardanger fiddle, and singing with world-class instructors for all levels. Enrich your experience with cultural programs, concerts, and craft sessions. Relax by the lake or enjoy an afternoon canoeing, swimming, or hiking and then round off the day at the nightly dance party or jamming with friends and staff. Families Welcome! -- Children under 5 free Information Dance classes are designed for all levels of dancers. Basics with other parents for playgroup and other options. class introduces basic dance practices while teaching body mechanics and skills helpful for all levels of dancers. PayPal: Please contact Theresa for information on this Swedish and Norwegian classes feature traditional option at [email protected]. regional dances. Special additional classes may review dances taught in previous years or enrich the offerings. You Payment deadline dates: Full payment must be received by don’t need to attend camp with a dance partner. We change May 15 for the discounted rate.