August 2005 Emerald Reflections
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Ceili Rain Erasers on Pencils
Ceili Rain Biography With the exception of two miserable days as an electrician's assistant, Bob Halligan, Jr. has never held a "day job" in his life. The lead singer, songwriter, guitarist and creative force behind the Celtic-flavored rock band Ceili (KAY-lee) Rain has earned his living—and reputation—as a working musician and songwriter for most of his life. Halligan has parlayed that well-deserved acclaim as a writer into a recording career that has seen the release of three highly praised albums for Ceili Rain, the most recent being the Cross Driven (Provident distribution) release, Erasers On Pencils. Erasers On Pencils is the latest celebrated chapter in a career that has found the Nashville-based band continuing to assert itself on both national and international stages. The album once again finds Halligan utilizing his gift for taking universal themes and distilling their essence into a lyrical approach that is capable of touching an audience on a very personal level. The opener, “Jigorous,” for example, tells the story of an aging woman reveling in life again at the sound of a familiar melody; “The Fighting Chair” uses a fishing analogy to encourage the listener to live life to its fullest; “God Done Good” finds Halligan overcome with thanksgiving for his wife and adopted son. “I have no problem laying bare such personal stories,” Halligan asserts. “What else have I got as a songwriter to offer but myself? I find that the things that really get to me are the things that get to others.” Indeed, Halligan has a knack for taking the big ideas and reducing them to their deepest, most emotional roots. -
Thomas Moore, Whose Patri- Manuscript Facsimiles and Musical Files, Otic-Imbued Writings Earned Him the with Commentary,” He Said
cc Page 24 Echo Lifestyle Ireland’s Minstrel Boy gets his encore By Michael P. Quinlin [email protected] William Blake. Phase one of the Moore project is slat- BOSTON — Ireland’s first mega star ed to go live this November, when the wrote poetry, history tomes and political Hypermedia Archive will be launched polemics that made him the talk of the at a conference in Galway, according to town in his native Dublin as well as in Ryder. London, Boston and New York. “By next year, we should have all the We’re not talking about Bono here, ‘Irish Melodies’ available online as texts, but rather Thomas Moore, whose patri- manuscript facsimiles and musical files, otic-imbued writings earned him the with commentary,” he said. The interest in Moore is enhanced by www.irishecho.com / Irish Echo May 21-27, 2008 titles Bard of Erin and Ireland’s National Poet. two new biographies, including one It was Moore’s lyrics to ancient Irish published last month by Ronan Kelly airs that brought him fame and notoriety entitled, “The Bard of Erin: the Life of during his lifetime and beyond. His Thomas Moore,” which Ryder says is famous collection, “Moore’s Melodies,” superb. was admired by the likes of Beethoven Like Ryder, Professor Flannery in and Lord Byron, and translated into six Atlanta never lost faith in Moore’s languages. importance in Irish history as a song- “Moore’s Melodies” was a ten-vol- writer, a literary influence and a nation- ume set of 124 songs published between alist figure. -
(Tom) of Granada Hills, CA Passed Away on December 15, 2009 from Complications of Ovarian Cancer Surgery
Home About Calendar/News Gallery Green Pages Contact 2009 OBITUARIES December Joan May Manning, beloved wife of Thomas F Manning (Tom) of Granada Hills, CA passed away on December 15, 2009 from complications of ovarian cancer surgery. Joan was a Londoner by birth, but a Yankee at heart, coming to America in 1956 with her husband Tom. She was an active member of the Burbank clubs (Moose, VFW, American Legion) and a talented singer who entertained many of us over the years with her lovely voice. She is survived by her loving daughters Chris O'Shaunnessy of Sunland CA, Mary Schumacher of Denver, CO and Shelagh Manning of Towanda, PA and by her many beautiful grandchildren and great grandchildren. Patrick J. Kane was born on 21st October 1933 in Bray, Co Wicklow and passed on 16th December 2009 in Loughlinstown Hospital, Co Wicklow. Patrick and his wife Brenda came here in 1963. They joined St Therese Parish in Alhambra. Their six children all graduated from the parish school. The Kane's maintained a home in Co Wicklow. While Pat was in Ireland in December 2009 he became ill. After much persuasion from the family "Poppers" agreed to be checked out at the Loughlinstown Hospital. He was diagnosed --" a severe case of pneumonia". Pat had left it too late. He wanted to see his own doctor here in California. Alas, Pat did not make that scheduled flight on 10th January 2010. Most of the family live in Ireland but Pat waited till son Ed arrived from Kentucky and son Mike from Valencia and Deirdre from Temple City. -
Irish Bands of the 60S & 70S | Sample Answer
Irish Bands of the 60s & 70s | Sample answer Ceoltóiri Cualann was an Irish group formed by Sean O’Riada in 1961. O’Riada had the idea of forming Ceoltóiri Cualann following the success of a group he had put together to perform music for the play “The Song of the Anvil” in 1960. Ceoltóiri Cualann would be a group to play Irish traditional songs with accompaniment and traditional dance tunes and slow airs. All folk music recorded before that time had been highly orchestrated and done in a classical way. Another aim of O’Riada’s was to revitalise the work of harpist and composer Turlough O’Carolan. Ceoltóiri Cualann was launched during a festival in Dublin in 1960 at an event called Recaireacht an Riadaigh and was an immediate success in Dublin. The group mainly played the music of O’Carolan, sean nós style songs and Irish traditional tunes, and O’Riada introduced the bodhrán as a percussion instrument. Ceoltóiri Cualann had ceased playing with any regularity by 1969 but reunited to record “O’Riada” and “O’Riada Sa Gaiety” that year. “O’Riada Sa Gaiety” was not released until after O’Riada’s death in 1971. The members of Ceoltóiri Cualann, some of whom went on to form “The Chieftains” in 1963 were O’Riada (harpsichord and bodhrán), Martin Fay, John Kelly (both fiddle), Paddy Moloney (uilleann pipes), Michael Turbidy (flute), Sonny Brogan, Éamon de Buitléir (both accordian), Ronnie Mc Shane (bones), Peadar Mercer (bodhrán), Seán Ó Sé (tenor voice) and Darach Ó Cathain (sean nós singer. Some examples of their tunes are “O’ Carolan’s Concerto” and “Planxty Irwin”. -
Okeedokeestudyguide2016.Pdf
TABLE OF CONTENTS Who Are The Okee Dokee Brothers?.................................................................................................................................1 What Kind of Music Do They Play?.................................................................................................................................2 Down the Mississippi River...............................................................................................................................................3 On the Appalachian Trail..................................................................................................................................................4 Along the Great Divide.....................................................................................................................................................5 Instruments in the Show: Strings.......................................................................................................................................6 Instruments in the Show: Percussion..................................................................................................................................7 Before the Performance.....................................................................................................................................................8 After the Performance.......................................................................................................................................................9 Okee Dokee Vocab..........................................................................................................................................................10 -
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 -
Highlands Songbook Contents
Highlands Songbook Contents Title Page A Jug of Punch 3 A Scottish Soldier 4 Black Velvet Band 5 Danny Boy 6 Maid of Fife-E-O 7 Mary Mac 8 Men of Harlech 9 Molly Malone (Cockles and Mussels) 10 Scotland the Brave 11 The Gypsy Rover 12 The Unicorn Song 13 The Wild Colonial Boy 14 The Wild Rover 15 When Irish Eyes Are Smiling 16 Whiskey in the Jar 17 2 A Jug of Punch (Paddy Clancy / Tom Clancy / Liam Clancy / Tommy Makem) G D7 G One pleasant evening in the month of June When he's snug outside of a jug of punch D G G As I was sitting with my glass and spoon And if I get drunk, well, the money's me own C D G A small bird sat on an ivy bunch And if they don't like me they can leave me alone D7 G C And the song he sang was "The Jug of Punch" I'll tune me fiddle and I'll rosin me bow G D D7 G Too ra loo ra loo, too ra loo ra lay, And I'll be welcome wherever I go D7 G G D Too ra loo ra loo, too ra loo ra lay Too ra loo ra loo, too ra loo ra lay, C D7 G A small bird sat on an ivy bunch Too ra loo ra loo, too ra loo ra lay D7 G C And the song he sang was "The Jug of Punch" I'll tune me fiddle and I'll rosin me bow D7 G G And I'll be welcome wherever I go What more diversion can a man desire? D G G Than to sit him down by snug turf fire And when I'm dead and in my grave C D G Upon his knee a pretty wench No costly tombstone will I have D7 G G C And on the table a jug of punch Just lay me down in my native peat G D D7 G Too ra loo ra loo, too ra loo ra lay, With a jug of punch at my head and feet D7 G G D Too ra loo ra loo, too ra loo ra lay Too -
Blauen Folker
Im Kalender vermerkt? Ausgabe 5/6.2020 ISSN 1435-9634 Unsere blauen Termin- und Postvertriebsstück: Serviceseiten K45876 Webseiten für Termine 04 Folker Corona Angebote 16 Wundertütenschätze CD‘S 18 Minnesang zur Popakademie 19 d Etcetera I 21 Wir suchten Helfer 23 Womex goes digital 2020 24 (se) Ausgerechnet die Gema 25 Die blauen Sicherung des Kulturlebens 26 Wirrwarr um Soforthilfen 27 Ja, ich bin systemrelevant 29 Gaeltacht Irland Reisen 30 Folker- 23 Jahre Folker 31 Irish Folk Festival 2021 32 Redaktionsschluss für die Serviceseiten der Ausgabe 1/21 ist spät. am 10.12.2020. „Termin“- und Oder schon vorher, wenn wir euch online informieren sollen/wollen. Serviceseiten Gerne auch online: www.termine-folk-lied-weltmusik.de Moers, Mitte September 2020 und zu denen die (quasi öffentlich-rechtliche) Bundessteuerberaterkammer fast jede Woche ein Liebe Leserinnen und Leser, Update von Fragen und Antworten veröffentlichen musste, weil die Damen und Herren BeamtenInnen in Was sind das für Zeiten! den vielen beteiligten Ministerien (von den Politikern Kann es sein, dass sie so oder ähnlich bleiben – für wollen wir nicht reden) fast keine Vorschrift länger? auslegungseindeutig oder rechtssicher hingekriegt Corona scheint unser Leben zu beherrschen, das der haben? Das muss man sich mal vorstellen: Da Medien ohnehin. Deshalb halten „Frust, Wut und wurden Anträge (seit 7. Juli) abgegeben – und die Fassungslosigkeit“ an (Siehe letzte „Blaue Seiten“, spezifizierten Auslegungskriterien wurden erst Heft 3+4/2020, und die verkümmerten Terminseiten hinterher veröffentlicht, Stück für Stück, auf zuletzt in der Heftmitte). weiteren 50 Seiten, gut 150 Einzelpunkte. Deshalb „Für viele sogenannte Soloselbstständigen und gibt es einen Beitrag (in den „Blauen Seiten“) mit Freiberufler bleibt es ein Hohn, wenn Olaf Scholz dem Titel „Wirrwarr bei den Hilfen“. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
A Unique Recording of "The Leaving of Liverpool"
0+ t<\1 5ummer/Fall V ~ 2008 E tJ) Webcasts -§i Odetta > \I) ~ :zV t V .. 1-> C Th:FS~I:::, i :~ O,:o~~:eb::': ~ C'U'OS from lh' ,'oS'oSofPm",' T,y"" V ¥e J Jd )1 n J J' IJJ JJ ,4,1 J. J }I;OJ j "W' J Dl 7 Now J'mlca-ving Li-vcr-pool, bound ouL for Fris-co Bay""'::::" I'm [cav-ing my sweet-heart be-hind me, but ['II U t W£ J J"Da ] I,LD 1)< J or j"rIJ~JJ IJ ) "J )1 ,LJ 311 come back and mar-ry you some-day_ Oh when I'm far a-waynt sea_ I'll nl-waysthink of you_ and the <l.) 4~' jJ J ;,1]:1 j J )IJ Ji J =1, 1J 0/) II " F' ) J. ~ IJ ) J. Jil t.__fl___ 19 day I'm Icav-ing Li-vcr-pooland the land ingstag!for sea. Sing fare you well, my own true love. when , ... LA E >Iun n I • J I} J J II _.--- F J J J J ~ m,. b" my do< , ling when I thinks of you. o gn"" u= American Folklite Center The Librar~ of Congress Folklife Center News AMERICAN FOLKLIFE CENTER “The LeaVING OF LIVERPOOL” ODETTA AFC WEBCASTS IN THE AFC ARCHIVE 1930-2008 NOW ONLINE BOARD OF TRUSTEES Congressional Appointees: C. Kurt Dewhurst, Chair, Michigan Daniel Botkin, California Mickey Hart, California Dennis Holub, South Dakota William L. Kinney, Jr., South Carolina Charlie Seemann, Nevada Kay Kaufman Shelemay, Massachusetts Librarian Appointees: Jane Beck, Vice-chair, Vermont Maribel Alvarez, Arizona Read about a unique re Odetta Holmes Felious AFC has recently made Tom Rankin, North Carolina 15 3 cording of an iconic song, 13 Gordon was a remarkable webcasts available of its Donald Scott, Nevada and the colorful sailor who sang it singer, and a longtime friend of the 2008 public events. -
Arxiv:1904.04948V1 [Cs.SI] 9 Apr 2019 Others Through the Emotions of Music and Its Lyrics [8]
Environmental Changes and the Dynamics of Musical Identity Samuel F. Way,1, 2, ∗ Santiago Gil,2, y Ian Anderson,2, z and Aaron Clauset1, 3, x 1Department of Computer Science, University of Colorado, Boulder, CO, USA 2Spotify, New York, NY, USA 3Santa Fe Institute, Santa Fe, NM, USA Musical tastes reflect our unique values and experiences, our relationships with others, and the places where we live. But as each of these things changes, do our tastes also change to reflect the present, or remain fixed, reflecting our past? Here, we investigate how where a person lives shapes their musical preferences, using geographic relocation to construct quasi-natural experiments that measure short- and long-term effects. Analyzing comprehensive data on over 16 million users on Spotify, we show that relocation within the United States has only a small impact on individuals' tastes, which remain more similar to those of their past environments. We then show that the age gap between a person and the music they consume indicates that adolescence, and likely their environment during these years, shapes their lifelong musical tastes. Our results demonstrate the robustness of individuals' musical identity, and shed new light on the development of preferences. Music is the soundtrack of our lives. It reflects our personify [10{12]. mood and personality, as well as the important people, When a community forms around some kind of music, places, and times in our past [1]. In this way, a person's the surrounding environment takes on an identity of its musical identity|the set of musical tastes or preferences own. -
Interview Mit John Sheahan 2002 (Hans-Jürgen Fink, Hamburger Abendblatt)
Interview mit John Sheahan 2002 (Hans-Jürgen Fink, Hamburger Abendblatt) ? Was für eine Situation war das damals in Irland, als die Dubliners in den 60er- Jahren ihre Karriere starteten? Welche Bedeutung hatte das Singen und Musizieren, und welche Marktlücke haben Sie damals erobert? ! 1962 – das war eine völlig andere Welt, sie hat sich viel langsamer bewegt – heute ist alles so hektisch und verrückt. Die Leute hatten mehr Zeit, Zeit zum Nachdenken. Und die irische Musik, das war die Welt der älteren Generation. Sie war nicht schrecklich populär unter jüngeren Leuten und hat diese Generation erst langsam wieder erobert. Bei mir war das etwas anders, ich habe Tin Whistle gelernt und dann Flöte; ich bin ja wie Barney MacKenna in einer musikalischen Familie aufgewachsen. Die Art der „Dubliners“, mit der traditionellen irischen Musik umzugehen, war neu und erfrischend, sie brachte eine ganz andere Vitalität hinein. Nur ein Beispiel: Die älteren Musiker, das waren meist Dance Bands, sie haben alle gesessen. Wir standen auf der Bühne, wir haben gespielt und gesungen, und wir haben uns bewegt. Die Leute schienen das zu mögen, und so haben wir uns unsere ganz eigene Nische im Markt geschaffen. Wir haben die Leute magisch zur irischen Musik hingezogen, der wir neues Leben eingehaucht hatten. ? Sie sind jetzt vierzig Jahre im Musikgeschäft – das ist einzigartig. Wie würden Sie denn Ihr Erfolgsrezept beschreiben? ! Vermutlich ist es unser Erfolgsrezept, dass wir nie irgendeins gehabt haben. Wir haben ja noch nicht mal Verträge untereinander. Wir spielen einfach, wir haben musikalisch viel anzubieten, jeder bringt seine Soli ein. Und noch etwas ist ganz wichtig: Wir hängen nicht zwischen unseren Tourneen zusammen.