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PRESENTS ABOUT MORE2SCREEN More2Screen is a leading distributor of Event Cinema with an unparalleled reputation for the delivery of great cinema events to audiences around the world. Founded in 2006 by CEO Christine Costello, it has been a global pioneer in the harnessing of digital technology to bring the very best in live music, performance arts and cultural entertainment to local cinema audiences. More2Screen won the Screen Award ‘Event Cinema Campaign of the Year’ category in 2018 for the live broadcast of the musical Everybody’s Talking About Jamie, and recent releases include Kinky Boots The Musical, Gauguin from the National Gallery, London, Matthew Bourne’s FILMED LIVE AT THE 3ARENA, DUBLIN Romeo & Juliet and 42nd Street The Musical. RUNNING TIME: 120 minutes (Part 1 55 minutes / Interval 5 minutes / For more information visit More2Screen.com Interval Feature 8 minutes / Part 2 52 minutes) BBFC: U Share your thoughts after the screening #Riverdance25Cinema @Riverdance / @More2Screen BRINGING MORE CHOICE TO YOUR CINEMA Live and recorded theatre, opera, @more2screen ballet, music & exhibitions CAST PRODUCTION Composer Producer Director Riverdance Mide Ni Bhaoill Riverdance Bill Whelan Moya Doherty John McColgan Irish Dance Troupe Andrew O’Reilly Flamenco Soloist Senior Executive Producer Tomas O’Se Rocio Montoya Julian Erskine Principal Dancers Natasia Petracic Bobby Hodges and Callum Spencer Riverdance Poetry and Music Amy-Mae Dolan Megan Walsh Russian Ensemble Riverdance Poetry - Theo Dorgan Peter Wilson dance captain Spoken by John Kavanagh Dance Captains Iana Hajdau Music Orchestrations Ellen Bonner and Riverdance Band Sergey Chevychalov Nick Ingram and Bill Whelan Bobby Hodges musical director Iana Hajdau Mark Alfred Anton Tiplov Associate Director Troupe kit, bodhran and Mariia Tsuneva Padraic Moyles Ellen Bonner percussion Anna Vedenina Colm Brien Mark Alfred Anatolii Zavitov Marketing Manager Kieran Bryant uilleann pipes, low Mary Keatley O’Donnell Gerard Byrne whistle, tin whistle, Riverdance Tappers concertina Choreography Maria Buffini Kayla Lomas-Kirton Tara Howley Original Principal Irish Dance Choreographer Ciara Callanan-Ryan Dharmesh Patel Michael Flatley Orlagh Carty saxophones Rohan Pinnock-Hamilton Lewis Childs Emma McPhilemy Additional choreography Robyn Connolly fiddle Mavis Ascott, Jean Butler, Colin Dunne, John Carey, Paula NicCionaith, Keeva Corry Haley Richardson Andrei Kisselev, María Pagés, Tarik Winston, Moscow Folk Ballet Company John Fitzgerald accordion Executive Producers for Stagescreen Producer for Tyrone Productions Matthew Gardiner Damien Mullane Susan Wittenberg and Doug Zwick Patricia Carroll Sarah Gaughran guitar, kaval, bouzouki James Greenan Declan Masterson Editor Kieran Hardiman Andrew Findlay harp Christina Havlin Séamus Ó Flatharta Jessica Hindley Produced and Directed for the screen by Meadhbh Kennedy Chris Hunt Riverdance Choir John Lonergan soloist Siobhan Manson Distributed to cinemas worldwide by Edel Murphy More2Screen Jordan McCormick with members of the Jennifer Murray Company Olivia Murray.

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WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
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Irish Music If You Are a Student, Faculty Member Or Graduate of Wake and Would Like to Play Irish Music This May Be for You
Irish Music If you are a student, faculty member or graduate of Wake and would like to play Irish music this may be for you. Do you know the difference between a slip jig and a slide? What was the historic connection between Captain O’Neill of Chicago and Irish music? Who was Patsy Touhey and was he American or Irish? What are Uilleann pipes? What is sean-nós singing and is there a connection with Irish poetry? For the answers, join this Irish Music association. GOALS: to have a load of fun playing Irish music and in the process: Create a forum for a dynamic musical interaction recognizing and promoting Irish music Provide an opportunity for musicians to study, learn, and play together in the vibrant Irish folk tradition Promote co-operation between outside music/fine arts departments in Winston-Salem Enhance a community awareness of Irish music, song and culture Expose interested music, and other fine arts, students to an international dimension of folk music based on the Irish tradition as a model Explore the vocal and song traditions in Ireland in the English and Gaelic languages Learn about the history of Irish folk music in America HOW THIS WILL BE DONE: Meet every two weeks and play with a Gaelic-speaking piper and whistler from Ireland, define goals, share pieces, develop a repertoire; organize educational and academic demonstrations/projects; hear historic shellac, vinyl and cylinder recordings of famous pipers, fiddlers, and singers. Play more music. WHAT THIS IS: Irish, pure 100%..... to learn not only common dance music forms including double jigs, reels, hornpipes, polkas but also less common tune forms such as sets, mazurkas, song airs and lullabies etc WHAT THIS IS NOT: Respecting our Celtic brethren, this is NOT Celtic, Scottish, Welsh, Breton, Galician or Canadian/Cape Breton music which is already very well represented by some fine players here in North Carolina.
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Traditional Irish Music Presentation
Traditional Irish Music Topics Covered: 1. Traditional Irish Music Instruments 2 Traditional Irish tunes 3. Music notation & Theory Related to Traditional Irish Music Trad Irish Instruments ● Fiddle ● Bodhrán ● Irish Flute ● Button Accordian ● Tin/Penny Whistle ● Guitar ● Uilleann Pipes ● Mandolin ● Harp ● Bouzouki Fiddle ● A fiddle is the same as a violin. For Irish music, it is tuned the same, low to high string: G, D, A, E. ● The medieval fiddle originated in Europe in ● The term “fiddle” is used the 10th century, which when referring to was relatively square traditional or folk music. shaped and held in the ● The fiddle is one of the arms. primarily used instruments for traditional Irish music and has been used for over 200 years in Ireland. Fiddle (cont.) ● The violin in its current form was first created in the early 16th century (early 1500s) in Northern Italy. ● When fiddlers play traditional Irish music, they ornament the music with slides, cuts (upper grace note), taps (lower grace note), rolls, drones (also known as a double stop), accents, staccato and sometimes trills. ● Irish fiddlers tend to make little use of vibrato, except for slow airs and waltzes, which is also used sparingly. Irish Flute ● Flutes have been played in Ireland for over a thousand years. ● There are two types of flutes: Irish flute and classical flute. ● Irish flute is typically used ● This flute originated when playing Irish music. in England by flautist ● Irish flutes are made of wood Charles Nicholson and have a conical bore, for concert players, giving it an airy tone that is but was adapted by softer than classical flute and Irish flautists as tin whistle.
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MUSIC of IRELAND Fact Sheet PRESS FINAL
Premiering nationwide March 2010 on public television (check local listings), Music of Ireland – DVD plus exclusive Welcome Home tells the definitive story of bonus CD available contemporary Irish music, starting in 1960 with the only through public Clancy Brothers. Grammy-winner Moya Brennan television stations! (Clannad) hosts this new documentary featuring exclusive interviews and performances from The Chieftains’ Paddy Moloney , Riverdance ’s Michael Flatley & Bill Whelan , U2’s Bono & Adam Clayton , Sinéad O’Connor , Bob Geldof , Pete Seeger , The Dubliners’ John Sheahan , the late Liam Clancy ’s last interview before his death (12/2009), and other great icons of Irish popular culture. See vintage clips of The Clancy Brothers & Tommy Makem on The Ed Sullivan Show, Judy Collins playing music from the ‘old Companion CD of new & original country,’ The Pogues and Van Morrison with The songs from artists Chieftains on RTE’s “Late, Late Show,” Riverdance ’s in the program and debut at Eurovision and more! A must-see for music other Irish music fans, Music of Ireland explores the impact of Irish stars! music in America and the world. Preview video and more at wliw.org/musicofireland . Media Kit : wliw.org/pressroom Media Contacts Natasha Padilla Patti Conte Melani Rogers WNET.ORG Plan A Media Plan A Media [email protected] [email protected] [email protected] Phone: 212.560.8824 Phone: 212.337.1406 ext 16 Phone: 212.337.1406 ext 18 The greatest Irish musical artists of our time in the definitive story of contemporary Irish music
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Cs June 2010.Pdf
ISSN 1352-3848 June 2010 VOLUME 27 NO 1 THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY Jock Agnew and Martin Lowe launch ‘The Wind in the Bellows’ IN THIS ISSUE From the Archive(4): New Tune Book(5): Music Resources(6): John Armstrong’s Sword(7): Tutor Launch(9): Melrose(11): LBPS Annual Competition(13): Stock Imagery(18): Piper Gould(24): Revival or Survival?(26): Event Reports(35): Nate Banton Interview(41): Coming Events(48): Reviews(51): Back Lill(55) 1 President Julian Goodacre Minute Sec. Jeannie Campbell Chairman: Jim Buchanan Newsletter Helen Ross Treasurer Iain Wells Membership Pete Stewart Secretary Judy Barker Editor CS Pete Stewart THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY EDITORIAL ol 25 no 1 is the 47th issue of some from far-flung parts of the world; Common Stock [issues were there were lowland pipers in America, in V rather erratic in the early years], Australia, in Germany and the Nether- but it is the first I have supervised as lands, in India and in Oman, it seemed, editor. It is extraordinary to find that I and they were all keen to become part of am only the third person to hold this this new organization and share their privileged position. It is indeed a privi- enthusiasm. lege to take over a publication which has And because they did, I am now given recorded the trajectory of bellows piping the honour of editing the journal they from the days nearly thirty years ago first produced in Dec 1983. when various enthusiasts around the This revisiting of the early days has world began to discover that they were been largely the result of the work that not alone in their interest and that there has been done recently on preparing the was demand for an organization which Society’s records for deposit in the Na- would represent it.
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Some Acoustic Characteristics of the Tin Whistle
Proceedings of the Institute of Acoustics SOME ACOUSTIC CHARACTERISTICS OF THE TIN WHISTLE POAL Davies ISVR, University of Southampton, Southampton, UK J Pinho ISVR, Southampton University, Southampton, UK EJ English ISVR, Southampton University, Southampton, UK 1 INTRODUCTION The sustained excitation of a tuned resonator by shed vorticity in a separating shear layer 1 or the whistling produced by the impingement of thin fluid jets on an edge 2 have both been exploited by the makers of musical instruments from time immemorial. Familiar examples include panpipes, recorders, flutes, organ flue pipes 13 , and so on. Over the centuries, the acquisition of the necessary knowledge and skill for their successful production must have been laboriously accomplished by much trial and error. A more physically explicit understanding of the basic controlling mechanisms began to emerge during the great upsurge in scientific observation and discovery from the mid19th century, as this was also accompanied by the relevant developments in physics, acoustics and fluid mechanics. These mechanisms can take several forms, depending on subtle differences in local and overall geometric detail and its relation to the magnitude, direction and distribution of any flow that is generating sound. One such form includes many examples of reverberant systems, where separating shear layers 3,4 provide the conditions where this coupled flow acoustic behaviour may occur. It is well known 14 that whenever a flow leaves a downstream facing edge it separates, forming a thin shear layer or vortex sheet. Such sheets, which involve high transverse velocity gradients, are very unstable and rapidly develop waves 14 .
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RTÉ Annual Report 2014
Annual Report & Group Financial Statements 2014 Raidió Teilifís Éireann Board 54th Annual Report and Group Financial Statements for the twelve months ended 31 December 2014, presented to the Minister for Communications, Energy and Natural Resources pursuant to section 109 and 110 of the Broadcasting Act 2009. Is féidir leagan Gaeilge den Tuarascáil a íoslódáil ó www.rte.ie/about/ie/policies-and-reports/annual-reports/ 2 CONTENTS Vision, Mission and Values 2 A Highlights 3 Chair’s Statement 4 Director-General’s Review 6 Financial Review 10 What We Do 16 Organisation Structure 17 Operational Review 18 Board 84 B Executive 88 Corporate Governance 90 Board Members’ Report 95 Statement of Board Members’ Responsibilities 96 Independent Auditor’s Report 97 Financial Statements 98 C Accounting Policies 105 Notes Forming Part of the Group Financial Statements 110 Other Reporting Requirements 149 Other Statistical Information 158 Financial History 159 RTÉ ANNUAL REPORT & GROUP FINANCIAL STATEMENTS 2014 1 RTÉ’S DirecTOR-GENERAL has SET RTÉ’S VISION, MISSION AND VALUes STATEMENT Vision RTÉ’s vision is to enrich Irish life; to inform, entertain and challenge; to connect with the lives of all the people. Mission • Deliver the most trusted, independent, Irish news service, accurate and impartial, for the connected age • Provide the broadest range of value for money, quality content and services for all ages, interests and communities • Reflect Ireland’s cultural and regional diversity and enable access to major events • Support and nurture Irish production and Irish creative talent Values • Understand our audiences and put them at the heart of everything we do • Be creative, innovative and resourceful • Be open, collaborative and flexible • Be responsible, respectful, honest and accountable to one another and to our audiences 2 HIGHLIGHTS A RTÉ ANNUAL REPORT & GROUP FINANCIAL STATEMENTS 2014 3 CHAIR’S STATEMENT The last year has been one of transition for RTÉ and for its Board.
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School Show Study Guide
420 East Packer Avenue Bethlehem, PA 18015-3179 (610) 758-2787 www.ZoellnerArtsCenter.org School Show Study Guide: Wednesday, March 13, 2019 at 10:00am Baker Hall at Zoellner Arts Center USING THIS STUDY GUIDE Dear Educator, On Wednesday, March 13, your class will attend a performance by Murphy’s Celtic Legacy, at Lehigh University’s Zoellner Arts Center in Baker Hall. You can use this study guide to engage your students and enrich their Zoellner Arts Center field trip. Materials in this guide include information about the performance, what you need to know about coming to a show at Zoellner Arts Center and interesting and engaging activities to use in your classroom prior to and following the performance. These activities are designed to go beyond the performance and connect the arts to other disciplines and skills including: Dance Culture Expression Social Sciences Teamwork Choreography Before attending the performance, we encourage you to: Review the Know before You Go items on page 3 and Terms to Know on pages 9. Learn About the Show on pages 4. Help your students understand Ireland on pages 11, the Irish dance on pages 17 and St. Patrick’s Day on pages 23. Engage your class the activity on pages 25. At the performance, we encourage you to: Encourage your students to stay focused on the performance. Encourage your students to make connections with what they already know about rhythm, music, and Irish culture. Ask students to observe how various show components, like costumes, lights, and sound impact their experience at the theatre. After the show, we encourage you to: Look through this study guide for activities, resources and integrated projects to use in your classroom.
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September 2007 Published by the American Recorder Society, Vol
september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering.
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Old Stock List
04 November 2018 SAUNDERS RECORDERS BRISTOL www.saundersrecorders.com PRODUCTS For more information contact:- [email protected] The price of an out of stock item is likely to be different when it comes back into stock. 8 - Sheet Music, is visible for historic information, only. (Most prices are from January 2015.) System Product Price (£) In Order 1 - Recorder 01 Recorder Sundries Code Code Inc.VAT Stock Status 1 - Recorder 01 Recorder Sundries Antikondens 25027 MOL6138 2.50 Coolsma Thumb Rest. pearwood 34159 E005D 5.00 Cork Grease (cup) 31776 MOL6130 0.90 Cork Grease, lipstick style. 26185 MOL6131 2.25 Hard Case, Descant & Treble. 20930 2HC 84.95 Hard Case, Quartet (NSAT) 19972 4HC 145.00 Hard Case, Trio (NSA) 19941 3HC 80.00 Instrument Hire 36658 IH Instrument Loan 41669 IL Instrument Loan - Bass 41690 ILB Instrument Loan - Tenor 41683 ILT Instrument Loan - Treble 41676 ILA Instrument Service etc. 6606 JNE Kung Recorder Case, 6 Slot. 42017 KNG9964 175.00 Moeck Maintenance Kit (alt) 18241 KITa 19.95 Moeck Maintenance Kit (sopran) 31370 KITs 19.99 Moeck Recorder catalogues/leaflets. Small bundle! 41102 41102 Mollenhauer Recorder Maintenance Kit 43663 MOL6132 15.00 Mollenhauer Soft case for S+A, black 43496 MOL7710 21.50 Mollenhauer Teaching Aids pack 43090 MOL6233 14.60 Recorder Oil 31493 OIL 1.00 Recorder Unspecified 2783 R Roll Bag 12 Pocket 7450 86801 54.95 Sling, SR custom spare. 43731 SLING 6.00 Special Service (Moeck) 38430 38430 Thumb Hole Bushing 23993 THB 35.00 Thumb Rest Adjustable brass with ring. 43052 MOL6211 40.38 Thumb Rest, brass with ring.
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Réalta Carry on the Bothy Band Tradition of Taking Tunes By the Scruff of the Neck and Firing Excitement Through Them Like Hot Flames!” - Herald Scotland
www.realtamusic.com “Réalta carry on the Bothy Band tradition of taking tunes by the scruff of the neck and firing excitement through them like hot flames!” - Herald Scotland Hailing from the Ulster city of Belfast, this award winning multi- instrumentalist group present an enchanting programme of Irish traditional dance music interspersed with the occasional air and song. Performing on duelling uilleann pipes, whistles, bodhrán, guitar, bouzouki, banjo, double bass and vocals, their unique sound and masterful musicianship has secured Réalta’s position as one of the most exciting acts on the Celtic music scene today. For more information see: www.realtamusic.com / RealtaMusic [email protected] Biography Described by Irish Music Magazine as “a full bodied pipe and whistle extravaganza”, Réalta carry on the Bothy Band tradition of taking tunes by the scruff of the neck and firing excitement through them like hot flames! Hailing from the Ulster city of Belfast, this award winning multi-instrumentalist group present an enchanting programme of dance music interspersed with the occasional story, air and song. While Conor Lamb and Aaron O’Hagan pursue the melody on uilleann pipes and whistles, guitarist and vocalist Deirdre Galway explores the harmony and rhythms within the tunes. All-Ireland champions Dermot Mulholland and Dermot Moynagh complete the line-up with dynamic accompaniments on double bass, bouzouki, banjo, voice and bodhrán, making this one of the most exciting acts on the Irish music scene today. The release of their second album, Clear Skies, has brought Réalta widespread critical acclaim, with the Irish Music Magazine summing things up by writing “Réalta have grown bigger, bolder and braver and this is one of the best CDs to have come out of Ireland this year!”.
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Copyright by Colleen Anne Hynes 2007
Copyright by Colleen Anne Hynes 2007 The Dissertation Committee for Colleen Anne Hynes certifies that this is the approved version of the following dissertation: “Strangers in the House”: Twentieth Century Revisions of Irish Literary and Cultural Identity Committee: Elizabeth Butler Cullingford, Supervisor Barbara Harlow, Co-Supervisor Kamran Ali Ann Cvetkovich Ian Hancock “Strangers in the House”: Twentieth Century Revisions of Irish Literary and Cultural Identity by Colleen Anne Hynes, B.S.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2007 Acknowledgements This dissertation project would not have been possible with the support, wisdom and intellectual generosity of my dissertation committee. My two supervisors, Elizabeth Butler Cullingford and Barbara Harlow, introduced me to much of the literature and many of the ideas that make up this project. Their direction throughout the process was invaluable: they have been, and continue to be, inspirational teachers, scholars and individuals. Kamran Ali brought both academic rigor and a sense of humor to the defense as he pushed the manuscript beyond its boundaries. Ann Cvetkovich translated her fresh perspective into comments on new directions for the project and Ian Hancock was constantly generous with his resources and unique knowledge of the Irish Traveller community. Thanks too to my graduate school colleagues, who provided constructive feedback and moral support at every step, and who introduced me to academic areas outside of my own, especially Miriam Murtuza, Miriam Schacht, Veronica House, George Waddington, Neelum Wadhwani, Lynn Makau, Jeanette Herman, Ellen Crowell and Lee Rumbarger.
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