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The Country Dancer
RECORDS THE COUNTRY DANCE SOCIETY OF AMERICA SERIES Made by Folk raft. COUNTRY Music by THE PINEWOODS PLAYERS: Accordion, Concertina, Violin, Double Bass, Guitar. Orcon Flute Leader: Phil Merrill. Project supervisor: May Gadd . DANCER Flll2 Nottingham Swing; Three Meet Flll3 Washington Quickstep; Norfolk Long Dance Flll4 The Rifleman; Morpeth Rant FillS Sicilian Circle; Circassian Circle Fl209 La Russe Quadrille; Cumberland Square Dance; Yorkshire Square dance Music by KENWORTHY SCHOFIELD - Pipe and Tabor. Fl210 Morris Dances: Shepherd's Hey Jig; Fool's Jig Constant Billy; Bobbing Joe Fl211 Country Dances: Oranges and Lemons; Parson's Farewell Corn Riggs; Hey Boys Up Go We Fl212 Morris Dances: Lads a Bunchum; Country Gardens Jig Tubes for Sword or Square Dancing: Killagan Slashers, Oh Dear What Can the Matter Be, Charlie Mack's Jig, Bonnie Dundee, Cock o' the North '• Prices: 1112, 1113, 1114, 1115 - 10 • .............. 89¢ each 1209, 1210 , 1211, 1212 - 12 • ............ U. 78 each I 0% discount to C.D.S. Members and C.D.S. Centers Order Records and Instruction Books (with tunes) from: THE COUNTRY DANCE SOCIETY OF AMERICA 31 UNION SQUARE W., NEW YORK 3, N. Y. Send no money with order. We will bl11 you for cost of record plus mailing charges. Morris Ring Gathering f VOLUME 8 Thaxted, Essex, England aiHER PHOTOGRAPH CREDITS: "Jean Ritchie" by Gary Wagner, New York, N.Y. "William Kimber" by L. G. Hill, St. Albans, England. "Morris Ring Gathering" by F. Harris, Bishop's NUMBER 3 Stortford, England - supplied by Alec Hunter, Squire of the Morris Ring. DECEMBER 1952 35c THE COUNTRY DANCER EDIT OR RECORD REVIEWER BOOK EDITOR May Gadd Edward Tatnall Canby Roberta Yerkes Anne Davis ART EDITOR Ruth Sanders Maggie Mahon Genevieve Shimer William Sellers Published four times yearly by THE COUNTRY DANCE SOCIETY OF AMERICA 31 Union Square West, New York, 3, N. -
Dog Lane Café @ Storrs Center Og Lane Café Is Scheduled to Open in the Menu at Dog Lane Café Will Be Modeled Storrs, CT Later This Year
Entertainment & Stuff Pomfret, Connecticut ® “To Bean or not to Bean...?” #63 Volume 16 Number 2 April - June 2012 Free* More News About - Dog Lane Café @ Storrs Center og Lane Café is scheduled to open in The menu at Dog Lane Café will be modeled Storrs, CT later this year. Currently, we are after The Vanilla Bean Café, drawing on influ- D actively engaged in the design and devel- ences from Panera Bread, Starbucks and Au Bon opment of our newest sister restaurant. Our Pain. Dog Lane Café will not be a second VBC kitchen layout and logo graphic design are final- but will have much of the same appeal. The ized. One Dog Lane is a brand new build- breakfast menu will consist of made to ing and our corner location has order omelets and breakfast sand- plenty of windows and a southwest- wiches as well as fresh fruit, ern exposure. Patios on both sides muffins, bagels, croissants, yogurt will offer additional outdoor seating. and other healthy selections to go. Our interior design incorporates Regular menu items served through- wood tones and warm hues for the out the day will include sandwiches, creation of a warm and inviting salads, and soups. Grilled chicken, atmosphere. Artistic style will be the hamburgers, hot dogs and vegetarian highlight of our interior space with options will be served daily along with design and installation by JP Jacquet. His art- chili, chowder and a variety of soups, work is also featured in The Vanilla Bean Café - a desserts and bakery items. Beverage choices will four panel installation in the main dining room - include smoothies, Hosmer Mountain Soda, cof- and in 85 Main throughout the design of the bar fee and tea. -
The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play. -
16 043539 Bindex.Qxp 10/10/06 8:49 AM Page 176
16_043539 bindex.qxp 10/10/06 8:49 AM Page 176 176 B Boston Public Library, 29–30 Babysitters, 165–166 Boston Public Market, 87 Index Back Bay sights and attrac- Boston Symphony Index See also Accommoda- tions, 68–72 Orchestra, 127 tions and Restaurant Bank of America Pavilion, Boston Tea Party, 43–44 Boston Tea Party Reenact- indexes, below. 126, 130 The Bar at the Ritz-Carlton, ment, 161–162 114, 118 Brattle, William, House A Barbara Krakow Gallery, (Cambridge), 62 Abiel Smith School, 49 78–79 Brattle Book Shop, 80 Abodeon, 85 Barnes & Noble, 79–80 Brattle Street (Cambridge), Access America, 167 Barneys New York, 83 62 Accommodations, 134–146. Bars, 118–119 Brattle Theatre (Cambridge), See also Accommodations best, 114 126, 129 Index gay and lesbian, 120 Bridge (Public Garden), 92 best bets, 134 sports, 122 The Bristol, 121 toll-free numbers and Bartholdi, Frédéric Brookline Booksmith, 80 websites, 175 Auguste, 70 Brooks Brothers, 83 Acorn Street, 49 Beacon Hill, 4 Bulfinch, Charles, 7, 9, 40, African Americans, 7 sights and attractions, 47, 52, 63, 67, 173 Black Nativity, 162 46–49 Bunker Hill Monument, 59 Museum of Afro-Ameri- Berklee Performance Center, Burleigh House (Cambridge), can History, 49 130 62 African Meeting House, 49 Berk’s Shoes (Cambridge), Burrage Mansion, 71 Agganis Arena, 130 83 Bus travel, 164, 165 Air travel, 163 Big Dig, 174 airline numbers and Black Ink, 85 C websites, 174–175 Black Nativity, 162 Calliope (Cambridge), 81 Alcott, Louisa May, 48, 149 The Black Rose, 122 Cambridge Common, 61 Alpha Gallery, 78 Blackstone -
Shape-Note Singing Lesson Addresses the Following Teachers Bring to Their Students the Educational Power of Standards: Museums and Other Community Resources
OCT 00 hape- ote inging esson GRADES 3-8 SUBJECTS I Music Publication of this issue of Smithsonian in Your I History Classroom is made possible through the gener- ous support of the Pacific Life Foundation. ontents 3 Essay 10 Lesson Plan Keeping the Spirit Alive The purpose of Smithsonian in Your Classroom is to help A Shape-Note Singing Lesson addresses the following teachers bring to their students the educational power of standards: museums and other community resources. It draws on the National Standards for Arts Education (Music Content Smithsonian’s exhibitions and programs—from art to zool- Standards) ogy—to create classroom-ready materials for grades 3–8. I Singing alone and with others, a varied repertoire of music Each of the four annual issues takes an interdisciplinary Reading and notating music approach to a single topic. The Smithsonian invites teach- Understanding relationships between music, the ers to duplicate the materials for educational purposes. other arts, and disciplines outside the arts Understanding music in relation to history and You may request an audiotape, large-print, culture braille, or disk version (Mac or PC) by writing to National Standard for History the address listed on the back cover or by faxing your I Regional folklore and culture contributions that name, school name, and address to 202-357-2116. Please helped to form our national heritage specify the issue you are requesting. Photo Credits: Cover: ©Miriam A. Kilmer Pages 4, 7, and 13: ©Miriam A. Kilmer Page 5: William L. Clements Library, University of Michigan Pages 6 and 8: ©Lauren Piperno/Kingston Page 9: Birthplace of Country Music Alliance Music in cover image used by kind permission of Hugh McGraw of the Sacred Harp Publishing Company. -
Barbara Allen
120 Charles Seeger Versions and Variants of the Tunes of "Barbara Allen" As sung in traditional singing styles in the United States and recorded by field collectors who have deposited their discs and tapes in the Archive of American Folk Song in the Library of Congress, Washington, D.C. AFS L 54 Edited by Charles Seeger PROBABLY IT IS safe to say that most English-speaking people in the United States know at least one ballad-tune or a derivative of one. If it is not "The Two Sisters, " it will surely be "When Johnny Comes Marching Home"; or if not "The Derby Ram, " then the old Broadway hit "Oh Didn't He Ramble." If. the title is given or the song sung to them, they will say "Oh yes, I know tllat tune." And probably that tune, more or less as they know it, is to them, the tune of the song. If they hear it sung differently, as may be the case, they are as likely to protest as to ignore or even not notice the difference. Afterward, in their recognition or singing of it, they are as likely to incor porate some of the differences as not to do so. If they do, they are as likely to be aware as to be entirely unconscious of having done ·so. But if they ad mit the difference yet grant that both singings are of "that" tune, they have taken the first step toward the study of the ballad-tune. They have acknow ledged that there are enough resemblances between the two to allow both to be called by the same name. -
Program Booklet
February 9 & 16 Nashoba-wheelockfam5.5x7.5.indd 1 9/23/19 3:16 PM WFT@BU January/February 2020 Why Little Women? “It was the best of times, it was the worst of times.” “Call me Ishmael.” And “Christmas won’t be Christmas without any presents.” Little Women is on a short list of great works of literature featuring famous first lines. I returned to these opening lines for our first rehears- al and realized that the first two pages of Louisa May Alcott’s classic novel contain all the ingredients of her story: The four sisters are the first four characters whose voices we hear – this is a story about them. Jo has the first of these four lines – she will be the trailblazing leader of the sisters. Father is away at war – this is a matriarchal home. Marmee has asked her daughters to sacrifice their Christmas presents so as not to “spend money for pleasure, when our men are suffering so in the army” — this family is generous and mission-driven. Each sister has a different passion: books, music, drawing — this family does not have a lot, but they do have each other. It is their charity, love, and fire that make this family the Marches, that enable us to see ourselves in one of the four sisters, or parts of ourselves in all. As a young reader and moviegoer, what always spoke to me about Little Women is the rebel story of a young woman defying the gender norms of her time period through writing her own story. -
A History of Appalachia
University of Kentucky UKnowledge Appalachian Studies Arts and Humanities 2-28-2001 A History of Appalachia Richard B. Drake Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Drake, Richard B., "A History of Appalachia" (2001). Appalachian Studies. 23. https://uknowledge.uky.edu/upk_appalachian_studies/23 R IC H ARD B . D RA K E A History of Appalachia A of History Appalachia RICHARD B. DRAKE THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by grants from the E.O. Robinson Mountain Fund and the National Endowment for the Humanities. Copyright © 2001 by The University Press of Kentucky Paperback edition 2003 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kenhlcky Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 12 11 10 09 08 8 7 6 5 4 Library of Congress Cataloging-in-Publication Data Drake, Richard B., 1925- A history of Appalachia / Richard B. -
Faculty Handbook & Constitution
_______________________LEE UNIVERSITY_____________________ Faculty Handbook & Constitution 2020-2021 Published by the Office of the Provost and Vice President for Academic Affairs _________________LEE UNIVERSITY FACULTY HANDBOOK & CONSTITUTION_________________ TABLE OF CONTENTS INTRODUCTION A Message from the President ....................................................................................................... 1–1 A Message from the Provost and Vice President for Academic Affairs ......................................... 1–2 Historical Profile of Lee University ................................................................................................. 1–3 Presidents of the University ........................................................................................................... 1–4 PURPOSE AND OBJECTIVES Accreditation .................................................................................................................................. 2–1 Mission Statement .......................................................................................................................... 2–1 Expanded Statement of Institutional Purpose ............................................................................... 2–1 Faith Statement .............................................................................................................................. 2–3 Institutional Goals ........................................................................................................................... 2–4 -
June 28, 29 & 30, 2013
33rd annual music with roots 2013 June 28, 29 & 30, 2013 Welcome to the 33rd annual music with roots THE MISSION OF OLD SONGS, INC. FUNDING PROVIDED BY Old Songs, Inc. is a not-for-profit organization dedicated to keeping traditional This event is made possible with public funds from the New music and dance alive through the presentation of festivals, concerts, dances and York State Council on the Arts, with the support of Governor educational programs. Andrew Cuomo and the New York State Legislature. THANK YOU FOR YOUR SUPPORT SOUND SUPPORT Meadowlark Farms (flowers) • REM Printing • Michael Jarus • Andy’s Front Hall Specialized Audio/John Geritz, Ian Hamelin and crew, Altamont Fairgrounds • Terry & Donna Mutchler • Voorheesville Carpet Co. Euterpe Sound/Clyde Tyndale, Tim Parker, Kate Korolenko, Scott Petersen, Dave and Cyndi Reichard OUR ENVIRONMENT We are grateful to have such a lovely shaded place to have a festival. Please DOCUMENTATION use the RECYCLE barrels for all plastic, aluminum, and glass containers. Flatten Don Person, Bill Houston, Bill Spence, Hannah Spence cardboard and place it next to a barrel. Use TRASH BARRELS for refuse. PICK UP and Neil Parsons after the concerts. Ride your BICYCLES in the designated areas. Wear shoes, use sunscreen and drink lots of water. Smoke away from the seated audience. Thanks SPONSORS from all who share this place. Old Songs would like to thank the following businesses and individuals for SEATING/CHAIR POLICY their sponsorship of the 2013 Old Songs Festival: Seating at the Main Stage and in Areas 2, 3, 6, 7 and 8 is divided into low and high The Global Child - Chet & Karen Opalka Price Chopper sections. -
Church Music United States
Church Music in the United States 1760–1901 essays by David W. Music and Paul Westermeyer Published in partnership with the Center for Church Music, Concordia University Chicago MorningStar Music Publishers, Inc. 1727 Larkin Williams Road, Saint Louis, Missouri 63026-2024 morningstarmusic.com © 2014 by MorningStar Music Publishers, Inc. All rights reserved. Published 2014 Printed in the United States of America No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, mechanical, electronic, recording, photocopying or otherwise, anywhere in the world, including public perfor- mance for profit, without the prior written permission of the above publisher of this book. ISBN 978-0-944529-63-8 Library of Congress Cataloging-in-Publication Data Church music in the United States : 1760-1901 / essays by David W. Music and Paul Westermeyer. pages cm Includes bibliographical references and index. ISBN 978-0-944529-63-8 (alk. paper) 1. Church music--United States--19th century. 2. Church music--United States--18th century. I. Music, David W., 1949- author. II. Westermeyer, Paul, 1940- author. ML2911.4.C38 2014 781.700973--dc23 2014032347 vii TABLE OF CONTENTS Foreword xi Preface xiii Abbreviations xv Part I: 1760–1861—David W. Music Essay 1 American Psalmody in the Northeastern States and Canada 3 British Elaborate Psalmody 3 The Introduction of Elaborate Psalmody into America 5 William Billings 7 Later American Composers and Collections of Psalmody 10 Psalmody in Canada 13 Church Music -
The Banjo Is a Much Loved and Increasingly Popular Instrument, But
° BANJO BONANZA ° ° BANJO BONANZA ° The banjo is a muchA loved and increasinglyLONG popular instrument, but its history is less well-known. Rose Skelton talks to banjo protagonists Béla Fleck, Jayme Stone and Otis Taylor, who are all intent on highlighting its African roots TRIP HOME sparkling moment of stillness dig at the roots of the instrument. Jayme and it got relegated to traditional music and is sandwiched between Stone, a young Canadian banjo player, went to disappeared from common usage.” scenes of children singing at Mali to explore griot music and has since But the banjo’s history didn’t start there. an orphanage in the Malian recorded and toured with kora players with Ethnomusicologists reckon the instrument, capital Bamako, and a noisy their version of the banjo-meets-Africa on his now made from metal, wood and plastic, A street scene in which motorbikes, cars and 2008 album Africa to Appalachia [reviewed actually came from Africa on slave ships in donkey carts chug down a dust-lined road. in #58]. The great American bluesman Otis the form of skin and gourd lutes, like the Béla Fleck, one of modern music’s most Taylor delved into the African-American akonting of Senegal or the ngoni of Mali, the experimental banjo players, and Oumou roots of the instrument on his 2008 album latter of which has been around since at least Sangaré, arguably Africa’s most celebrated Recapturing The Banjo [reviewed in #50], the 14th century. Once these gourd female singer, play together in a small making the point that when the blues came instruments arrived on American soil, the Above: banjo maestro Béla recording studio in Bamako; Béla picking from Africa, it came via the banjo.