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Brittany Haas: Violin & Vocals Susie Petrov: Piano & Accordion
abdesign bc A Proud Supporter of The New Harmony Music Festival & School -Informing Citizens -Empowering Families -Strengthening Community Listen Live at WNIN.ORG TV 9.1 & 9.2, Cable 12 &13 FROM THE FESTIVAL DIRECTOR christopher layer Welcome to season three... Celebrating Life In The Presence Of Music...And Architecture! elcome festival friends to the third New Harmony Music Festival & School! Welcome Wto community, freedom, and the harmony of sounds in soaring spaces, old ballads in historic theaters, and morning serenades out of doors while nature bestows her gifts upon us in this harmonious spiritual mecca for the soul. I invite you to bring your own joy and enthusiasm for musical creation to bear on our offerings in this cradle of life and sharing. Drink deep from the font of exploration and linger long in the land of things creative. On behalf of Clem Penrose and all of the New Harmony Artists Guild, dear listener, you are invited! This season... his year we celebrate the bicentennial of the town of New Harmony and the unique ways our historic Tsurroundings and structures shape how our ears receive our music. Stephanie Meeks, the Director of the National Trust For Historic Preservation, has graciously written a short letter of greeting to the festival, as we feature some our special architecture around town during festival. We are thrilled to be performing an outdoor concert at 9 o’clock on Saturday morning, July 12 in the Philip Johnson Roofless Church featuring a nine foot Steinway piano courtesy of H & H Music in Evansville. Classical and traditional music inspired by works of architecture through history will fill the bill of fare for this very special “first” in festival history. -
Archives and Manuscripts
Séamus Connolly Papers 1929-2013 (bulk 1957-2013) IM.M064.1999 Series II, Subseries B: Digitized audio from sound cassettes, circa 1953 – circa 2003 http://hdl.handle.net/2345/3083 Last updated: 2013 June 10 Irish Music Archives John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill, MA, 02467 617-552-4861 [email protected] http://www.bc.edu/burns COLLECTION OVERVIEW: AUTHOR: Irish Music Archives, John J. Burns Library SOURCE: Gift of Séamus Connolly, 2005. COLLECTION #: IM.M064.1999 ACCESSION DATE: 2005 PROCESSED BY: Richard Burley, 2013; Deanna Malvesti, 2013; Rachel Banke, 2012; Margaret Connolly, 2011; Sandra O’Donoghue, 2011; Justin Menner, 2009. Managed and reviewed by John Kearney and Elizabeth Sweeney, 2009- 2013. LANGUAGE(S): The majority of the materials are in English with some materials in Irish. RESTRICTIONS ON ACCESS: Collection is open for research. COPYRIGHT RESTRICTIONS: These materials are made available for use in research, teaching and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Any materials used for academic research or otherwise should be fully credited with the source. The original authors may retain copyright to the materials. ABSTRACT: This collection documents the musical activities and career of Irish traditional fiddle player Séamus Connolly. The collection includes field recordings, correspondence, press clippings, publications, photographs, awards, and artifacts. It also includes research notes and materials collected by Connolly on Irish traditional music. PREFERRED CITATION: Identification of item, Box number, Folder number, Séamus Connolly Papers, IMC.M064, John J. -
Caoimhín Mac Aoidh on Regional Irish Fiddle Styles
20/03/2018, 0018 Page 1 of 1 Translate this page to French Go Translation by GO! Network Caoimhín Mac Aoidh on Regional Irish Fiddle Styles REPRODUCED BY PERMISSION OF THE AUTHOR: By all means feel free to use the article at the site. The only thing you need to point out is that the article is now at least 20 years old and was originally published in Vol. 1 of An Fhidil Ghaelach (now out of print).—Caoimhín Mac Aoidh Part 1 Part 2 Part 3 Part 1 Approximately 90 years ago the Irish language was spoken without break along the entire southern western and northern coastline and as far inland as County Roscommon (Irish Language Survey of 1891). At this time the Irish of these areas, dialectically speaking, gradually flowed into one another, thus making distinct dialects along a continuous transverse section almost undetectable. A language can be simply defined as a highly organised series of sounds and it is important to note that music, and in this case traditional Irish dance music, also fits well with this definition. I feel that both language and music are reflective of their practitioners or creators. Northerners to me generally are straightforward people in their humour and speech. Their music is usually straightforward as well; their song, ornamentally, is also. The Ulster dialect of Irish is often referred to as bland or flat. The music of the more southern counties, as regards their sound, and Irish dialects are significantly lighter in nature. A link between the music and the language is herein implied. -
Foreign Bodies in the River of Sound
FOREIGN BODIES IN THE RIVER OF SOUND SEEKING IDENTITY AND IRISH TRADITIONAL MUSIC Helen O’Shea Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Social Sciences Faculty of Arts Victoria University of Technology 2005 CONTENTS Images................................................................................................................................ v Musical Examples............................................................................................................ vi Abstract ........................................................................................................................... ix Declaration........................................................................................................................ x Acknowledgements.......................................................................................................... xi INTRODUCTION ............................................................................................................ 1 Chapter 1 THE RESEARCHER’S QUEST: THEORIZING MUSIC AND IDENTITY ..................... 6 1.1 Identifying identity .................................................................................................. 6 1.2 Theorizing music.................................................................................................... 10 1.3 Understanding Irish music..................................................................................... 21 1.4 The researcher’s quest........................................................................................... -
TUNE BOOK Kingston Irish Slow Session
Kingston Irish Slow Session TUNE BOOK Sponsored by The Harp of Tara Branch of the Association of Irish Musicians, Comhaltas Ceoltóirí Éireann (CCE) 2 CCE Harp of Tara Kingston Irish Slow Session Tunebook CCE KINGSTON, HARP OF TARA KINGSTON IRISH SLOW SESSION TUNE BOOK Permissions Permission was sought for the use of all tunes from Tune books. Special thanks for kind support and permission to use their tunes, to: Andre Kuntz (Fiddler’s Companion), Anthony (Sully) Sullivan, Bonnie Dawson, Brendan Taaffe. Brid Cranitch, Comhaltas Ceoltóirí Éireann, Dave Mallinson (Mally’s Traditional Music), Fiddler Magazine, Geraldine Cotter, L. E. McCullough, Lesl Harker, Matt Cranitch, Randy Miller and Jack Perron, Patrick Ourceau, Peter Cooper, Marcel Picard and Aralt Mac Giolla Chainnigh, Ramblinghouse.org, Walton’s Music. Credits: Robert MacDiarmid (tunes & typing; responsible for mistakes) David Vrooman (layout & design, tune proofing; PDF expert and all-around trouble-shooter and fixer) This tune book has been a collaborative effort, with many contributors: Brent Schneider, Brian Flynn, Karen Kimmet (Harp Circle), Judi Longstreet, Mary Kennedy, and Paul McAllister (proofing tunes, modes and chords) Eithne Dunbar (Brockville Irish Society), Michael Murphy, proofing Irish Language names) Denise Bowes (cover artwork), Alan MacDiarmid (Cover Design) Chris Matheson, Danny Doyle, Meghan Balow, Paul Gillespie, Sheila Menard, Ted Chew, and all of the past and present musicians of the Kingston Irish Slow Session. Publishing History Tunebook Revision 1.0, October 2013. Despite much proofing, possible typos and errors in melody lines, modes etc. Chords are suggested only, and cannot be taken as good until tried and tested. Revision 0.1 Proofing Rough Draft, June, 2010 / Revision 0.2, February 2012 / Revision 0.3 Final Draft, December 2012 Please report errors of any type to [email protected]. -
Comhaltas- Interview with Gearóid Ó Hallmhuráin
Treoir Comhaltas Magazine (Spring 1997) Out of the West By Raymond Hughes My father purchased an old Hohner accordion from a neighbour in Ballygriffey and decided that Frank Custy in Toonagh had a fitting alternative to my lack of talent on the hurling field. So begins the magnificent tale of one man’s musical journey continuing four generations of Clare concertina players. With several All-Ireland championships to his credit, Gearóid O hAllmhurain has finally released a solo album, entitled Traditional Music from Clare and Beyond. Acclaimed as one of the finest concertina recordings of all time by some critics, it is so much more than simply concertina. Joined by three of County Clares legendary fiddlers, Paddy Canny, Peter O’Loughlin and Martin Hayes, as well as Belfast harper Janet Harbison, sean-nós dancer Patrick O’Dea from Seafield, Inis Oírr flute player Mícheál O hAlmhain, and several other special guests, there is the makings of an entire céilií band on this recording. This delightful recording was released in Ireland and North America this summer. In the 1980s, Gearóid made his first forays into Amerikay as manager and piper of Dísirt Tola. This extraordinary band of young talent created their own cooperative recording produced in Windmill Lane Studios in Dublin. Touring England and New England, the band consisted of Sharon, Mary, and Garry Shannon, and a rake of young Clare and Dublin musicians. To this day, that album remains a most sought after collection but is as rare as hen’s teeth. Then for many years, Gearóid disappeared from the professional music arena in exchange for his academic pursuits. -
PAUL BRADY Paul Brady, Singer, Songwriter and Multi-Instrumentalist Is One of Ireland’S Most Enduringly Popular Artists
PAUL BRADY Paul Brady, singer, songwriter and multi-instrumentalist is one of Ireland’s most enduringly popular artists. Born and raised in Strabane, Northern Ireland, on the border with the Irish Republic, he was into a wide variety of music from an early age. A Fifties child, his first sounds the Swing, Jazz, Show tunes of his parents generation. Then 50′s Rock ‘n Roll, 60′s pop and Motown, Blues, R’nB and Country and Western. Through all this ran the potent flavour of Irish traditional music and song. Learning to play the piano pretty much by ear, trial and error, his early heroes were Jerry Lee Lewis, Winifred Atwell and Fats Domino. By the age of eleven he had begun to play guitar, spending hours of his school holidays learning every tune the Shadows and The Ventures recorded, every lick Chuck Berry played. Mid-teens saw him take summer jobs playing piano and guitar in Bundoran, a seaside resort in nearby County Donegal. But it was around 1965 in Dublin, at college, that he began to develop as a singer and performer joining a succession of R’n B / Soul bands including The Inmates, The Kult and Rootzgroop , covering the songs of Ray Charles, James Brown, Junior Walker and blues legends like Muddy Waters, Howlin’ Wolf and Chuck Berry. The 60′s in Dublin saw the renewal of interest in Irish traditional music and gave birth to the first wave of Irish ballad groups like The Clancy Brothers, The Dubliners, Sweeney’s Men and The Johnstons. Soon Paul became swept up in this current and joined the latter band with whom he recorded seven albums. -
The Album and the Musical Work in Irish Folk and Traditional Music, Ca
The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70 Adrian Scahill Éire-Ireland, Volume 54, Numbers 1 & 2, Spring/Summer 2019, pp. 17-45 (Article) Published by Irish-American Cultural Institute DOI: https://doi.org/10.1353/eir.2019.0005 For additional information about this article https://muse.jhu.edu/article/725523 [ Access provided at 3 Nov 2020 16:25 GMT from Maynooth University ] Adrian Scahill The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70 In this article I explore the interrelationship between the introduc- tion of the long-playing record (or LP) into Ireland, the impact of the traditional and folk revival, and the emergence of the concept of a musical work within traditional music. The invention of long- playing records in the 1950s affected how record labels, musicians, and consumers conceptualized different musical styles, and it shaped the structure of recorded music (Montgomery 3; Keightley, “Long Play” 380). The LP came to be associated with serious music of ar- tistic worth that was aimed at an adult market. In the same decade the first long-playing records of Irish traditional or folk music were issued during the first phase of the revival. Irish revivalist musicians and activists of the 1950s and 1960s had a number of broad aims that included, but were not limited to, ensuring that this music was appre- ciated as serious and artistic by a wider audience in Ireland, making high-quality recordings of the music, and presenting the music in a professional and more artistic manner. -
The Parameters of Style in Irish Traditional Music
THE PARAMETERS OF STYLE IN IRISH TRADITIONAL MUSIC Niall Keegan, University of Limerick 1 Style is an important but elusive concept in the world of traditional Irish music. As a young traditional flute player growing up in St. Albans, England, I heard the words of flute style bandied about at fleadhs, concerts and sessions but didn’t really understand them despite being exposed to a rare generation of musicians in and around London. In 1990 I took the opportunity to undertake a research degree at University College, Cork with the stated, naive and far too ambitious idea of producing an account of the different regional styles of flute playing within traditional Irish music. My initial period of research was by far the most fun and I travelled the country and received the seemingly limitless generosity and hospitality of many flute players. However, my initial goal of establishing a categorical structure where certain regional styles could be defined in much the way musicologists would define historical styles of classical composition by the use of certain of techniques very quickly proved to be unattainable. One man’s east Galway style, was another’s Clare style was another woman’s Sligo style. Very soon I realised that the problem wasn’t with the words and conceptual structures of traditional musicians and their inadequacies (as is implied in the findings of musicologists such as George List (1994, 1997) and closer to home, Fionnuala Scullion (1980)). I concluded that the problems was my expectation of discovering a scientific, Aristotelian categorical structure where every category has a limited list of attributes and a well defines border to separate it from others. -
Out of the West (CCE-1997)
A popular teacher indeed, Gearóid can be found on syllabi from San Francisco Bay Area university forums and North American Comhaltas conventions to national music camps like the Catskills’ Irish Arts Week in upstate New York and the Swannanoa Gathering in North Carolina. A fine uilleann piper, what brought you back to the concertina, I asked. So begins the magnificent tale of one man’s musical journey continuing four generations of Clare concertina players. With several All-Ireland championships to his credit, Gearóid O hAllmhurain has finally released a solo album, entitled Traditional Music from Clare and Beyond. Acclaimed as one of the finest concertina recordings of all time by some critics, it is so much more than simply concertina. Gearóid’s good fortune led him to the Clare concertina master, Paddy Murphy. Mentor to Joined by three of County Clares legendary fiddlers, Paddy Canny, Peter O’Loughlin and countless young players, Paddy Murphy commanded tremendous respect from the 1950s Martin Hayes, as well as Belfast harper Janet Harbison, sean-nós dancer Patrick O’Dea from down through the 80s for his technical facilities, his collection of tunes and innovative style. To Seafield, Inis Oírr flute player Mícheál O hAlmhain, and several other special guests, there is his students, he also offered tremendous wisdom and insights. Through the longtime the makings of an entire céilií band on this recording. friendship which developed between these two men, an event of extraordinary impact on the popularity of Irish music in Europe occurred. In the 1980s, Gearóid made his first forays into Amerikay as manager and piper of Dísirt Tola. -
Vincent Griffin Traditional Fiddle Music from County Clare
Vincent Griffin Traditional Fiddle Music from County Clare *1 Reels: Fahey’s 1 & 2 *2 Jigs: Paddy Fahey’s/The Cliffs of Moher 3 Reels: Paddy Ryan’s Dream/Mammy’s Pet *4 Reels: Martin Rocheford’s/The Sligo Maid *5 Hornpipes: The New Century/The Cuckoo 6 Jigs: Coleman’s 7 Reels: Lord McDonald’s/Ballinasloe Fair *8 Reels: The Reefs/McFadden’s Favourite *9 Reels: The New Year’s In/Youghal Quay **10 Air: Se Bhfath mo Bhfuartha (The Cause of my Sorrow) 11 Reel: Lord Gordon’s *12 Reels: Dr. Gilbert/The Queen of May *13 Jigs: The Trip to Sligo/Garrett Barry’s 14 Reels: The Night in Ennis/The Maid Behind the Bar *15 Reels: Crowley’s *16 Reels: Lady Anne Montgomery/Down the Broom/The Gatehouse Maid On tracks marked * Vincent is accompanied on piano and ** on harp by Geraldine Carrig. First published by Topic 1977 Produced and recorded by Robin Morton, December 1976 Design by Tony Engle Photography by Robin Morton Notes by Robin Morton Much thanks to Mr and Mrs Wilde of Ennis who very kindly gave us the use of their house and piano for the recording. A Gilderoy Production THE MAN Teaching obviously gives Vincent pleasure, especially as Vincent Griffin, from County Clare, is first and foremost a some of his pupils show great promise. One group of young fine traditional fiddler. We met, however, not in Ireland but people from Tulla, under his tuition, won five or six classes in California. He was out there visiting friends and playing at the 1976 All-Ireland Fleadh Ceol. -
Séamus Connolly Papers 1929-2013 (Bulk 1957-2013)
Séamus Connolly Papers 1929-2013 (bulk 1957-2013) IM.M064.1999 Series II, Subseries A: Digitized audio from sound tape reel compilations, 1958-1987 (bulk 1958-1987) http://hdl.handle.net/2345/1384 Last updated: 2020 July 1 Irish Music Archives John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill, MA, 02467 617-552-4861 http://www.bc.edu/burns 1 COLLECTION OVERVIEW: AUTHOR: John J. Burns Library SOURCE: Gift of Séamus Connolly, 2003-2005. COLLECTION #: IM.M064.1999 ACCESSION DATE: 2003-2005 LOCATION: John J. Burns Library PROCESSED BY: Deanna Malvesti, 2013; John Kearney, 2013; Dante Garland, 2007; Séamus Connolly, 2004-2005; Katie McCormick, 2004-2005. Managed and reviewed by Elizabeth Sweeney, 2004-2013; reviewed by Amy Braitsch, 2010; reviewed by Elizabeth Sweeney, 2020. LANGUAGE(S): The majority of the materials are in English with some materials in Irish. RESTRICTIONS ON ACCESS: Collection is open for research. COPYRIGHT RESTRICTIONS: These materials are made available for use in research, teaching, and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Any materials used for academic research or otherwise should be fully credited with the source. The original authors may retain copyright to the materials. ABSTRACT: This collection documents the musical activities and career of Irish traditional fiddle player Séamus Connolly. The collection includes field recordings, correspondence, press clippings, publications, photographs, awards, and artifacts. It also includes research notes and materials collected by Connolly on Irish traditional music.