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Northwest Accordion News
NORTHWEST ACCORDION NEWS Alpenfest! Holiday Polka Washington State Fair Bringing Structure to Abstract Chaos Accordion Social Reports from the Northwest Groups VOL. 23 NO. 4 Northwest Accordion Society Winter Quarter 2013 Northwest Accordion News NWAS News Deadlines NORTHWEST ACCORDION SOCIETY February 1, May 1, August 1, November 1 The Northwest Accordion News is a quarterly newsletter published by the Northwest Accordion Inquiries, questions, suggestions, etc. Society for and by its members. The purpose of Contact Doris Osgood, 3224 B St., the NWAS News is to unite the membership by Forest Grove, OR 97116. (503) 357-0417. providing news of its members, and articles that E-mail: [email protected] instruct, encourage, and promote the playing of the accordion. NWAS PUBLICATION PRIORITIES ♦ Advertising Mail letters & articles to: ♦ Original Compositions Northwest Accordion Society ♦ News from Our Members 5102 NE 121st Ave. #12, ♦ Instructive/Technical Articles Vancouver, WA 98682 ♦ Summaries from Regional Socials and Or e-mail to: [email protected] Events ♦ Coming Events ADVERTISING Articles will be printed if received prior to Full page $110.00 the publishing deadline. Should space be an Half page $55.00 issue, articles will be printed in the order in which Quarter $30.00 they are submitted. All decisions regarding Business card $10.00 publication will be made by the editors of the Prices are PER ISSUE. US Funds NWAS News. To submit articles for publication, mail Photo-ready Advertising (with accompanying check) them to the Vancouver, WA address listed. It is for this publication may be sent to: preferred that articles be submitted via e-mail as Northwest Accordion Society attached WORD documents or on a disc. -
Contemporary Folk Dance Fusion Using Folk Dance in Secondary Schools
Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part Contemporary Folk Dance Fusion Using folk dance in secondary schools By Kerry Fletcher, Katie Howson and Paul Scourfield Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Kerry Fletcher, Katie Howson and Paul Schofield Edited by: Frances Watt Copyright © English Folk Dance and Song Society, Kerry Fletcher, Katie Howson and Paul Schofield, 2014 Permission is granted to make copies of this material for non-commercial educational purposes. -
Schottische Musik
Masterprüfung Musik SCHOTTISCHE MUSIK Gestern und heute Reichmuth Fabienne Stoll Pierina SR 12 H16 Sach- und Begründungsanalyse Schottische Musik gestern und heute Abstract Die vorliegende Arbeit befasst sich mit schottischer Musik von früher und der Gegenwart als auch deren schulprak- tische Umsetzung auf der Sekundarstufe 1. In der Sach- und Begründungsanalyse werden Hintergrundinformatio- nen über typische schottische Instrumente und die Geschichte des Dudelsacks und der Scottish Folk Musik ge- sammelt. Es werden auch Merkmale der Scottish Folk Musik aufgeführt und thematisiert, inwiefern man diese musikalischen Merkmale in der heutigen schottischen Musik noch finden kann. Zudem wird der Cèilidh, eine typisch schottische Tanzveranstaltung, und die dazugehörige Tanzmusik kurz erläutert. Danach folgt die Begründungs- analyse, in welcher beschrieben wird, inwiefern die Thematik für die Lernenden von Bedeutung ist und welche Punkte des Lehrplans durch die Auseinandersetzung mit dem Thema Schottische Musik früher und heute abge- deckt werden können. Es folgen allgemeine Hinweise zur Umsetzung des Themas im Unterricht. Im Ideenpool werden weitere mögliche Anknüpfungspunkte zu den fünf Bereichen des Lehrplans 21 gesammelt. Im Hinblick auf die schulpraktische Umsetzung wurden exemplarische drei schottische Songs – The Ballad of John MacLean, This is the Life, und I’m Gonna Be (500 Miles) – gewählt. Zu den ersten beiden Songs wurde ein Lead- sheet, für den letzten ein Arrangement inklusive Spielhilfen für die Umsetzung im Klassenzimmer erstellt. Des Weiteren beinhaltet diese Arbeit eine Bewegungsanleitung für einen traditionellen Cèilidh zum Stück Virginia Reel. Zudem haben wir vier Arbeitsmaterialien zu den Themen Dudelsack, Edinburgh Military Tattoo, Cèilidhs und Schot- tische Instrumente erstellt. Zwei dieser Materialien und die Bewegungsanleitung lassen sich für den fächerüber- greifenden Unterricht in Kombination mit Englisch verwenden, was sich angesichts der Thematik offensichtlich anbietet. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
16Winter-NWAS.Pdf
NORTHWEST ACCORDION NEWS Alpenfest Accordion on Broadway Jolly Accordion Man Polka Remembering Marjorie Rombauer 10 Things I Learned from Cruise Ship Musicians VOL. 26 NO. 4 Northwest Accordion Society Winter Quarter 2016 Northwest Accordion News NWAS News Deadlines NORTHWEST ACCORDION SOCIETY February 1, May 1, August 1, November 1 The Northwest Accordion News is a quarterly newsletter published by the Northwest Accordion Inquiries, questions, suggestions, etc. Society for and by its members. The purpose of Contact Doris Osgood, 3224 B St., the NWAS News is to unite the membership by Forest Grove, OR 97116. (503) 357-0417. providing news of its members, and articles that E-mail: [email protected] instruct, encourage, and promote the playing of the accordion. NWAS PUBLICATION PRIORITIES ♦ Advertising Mail letters & articles to: ♦ Original Compositions Northwest Accordion Society ♦ News from Our Members 5102 NE 121st Ave. #12, ♦ Instructive/Technical Articles Vancouver, WA 98682 ♦ Summaries from Regional Socials and Or e-mail to: [email protected] Events ♦ Coming Events ADVERTISING Articles will be printed if received prior to Full page $120.00 the publishing deadline. Should space be an Half page $65.00 issue, articles will be printed in the order in which Quarter $35.00 they are submitted. All decisions regarding Business card $15.00 publication will be made by the editors of the Prices are PER ISSUE. US Funds NWAS News. To submit articles for publication, mail Photo-ready Advertising (with accompanying check) them to the Vancouver, WA address listed. It is for this publication may be sent to: preferred that articles be submitted via e-mail as Northwest Accordion Society attached WORD documents or on a disc. -
Northern Junket, Index
CTT3 I —•\ I •—I I I N D E I I X Digitized by the Internet Archive in 2011 with funding from Boston Library Consortium Member Libraries http://www.archive.org/details/northernjunketinOOpage I ND O NORTHERN JUNKI VOLUME 1. - NUMBER 1. THROUGH VOLUME 14.- NUMBER 9 APRIL 1949. THROUGH JULY 1984. RALPH PAGE - EDITOR AND PUBLISHER. INDEX Compiled and Published by Roger Knox INDEX TO NORTHERN JUNKET COPYRIGHT 1985 by Roger C. Knox Roger C. Knox 702 North Tioga Street Ithaca, NY 14850 TO THE MEMORY OF RALPH PAGE THIS WORK IS RESPECTFULLY AND AFFECTIONATELY DEDICATED "He was a very special human being." (Dave Fuller) "It was a sad day for the dance world when he passed on. He left thousands of friends, and probably hundreds of his-taught Contra-callers who will perpetuate his memory for some time to come." (Beverly B. Wilder Jr.) "All who knew him have suffered a great loss." (Lannie McQuaide) "About very few can it be truly said that 'He was a legend in his own time,' but Ralph certainly was and is such a legend. The world of dance is a richer place because he was here." (Ed Butenhof) ACKNOWLEDGEMENTS There is a danger when one starts naming those who helped in a task that someone may have been left off the "Honor Roll." To avoid that problem 1 wish to thank everyone who gave me any encouragement, advice, orders for the Index, or anything else one can imagine. I wish specifically to thank several people who played an important role in this endeavor and I will risk the wrath of someone I may have missed but who will nevertheless live in my heart forever. -
1 Box 12 Abbot, John M. La Coralie Polka Schottisch. Composed for And
Box 12 Abbot, John M. La Coralie polka schottisch. Composed for and respectfully dedicated to Miss Kate E. Stoutenburg. For solo piano. New York: J. E. Gould and Co., 1851. Abbot, John M. La reve d’amour. For solo piano. New York: William Hall & Son, 1858. 3 copies. L’Aboyar. La coquetterie polka facile. For solo piano. Boston: Oliver Ditson, 1853. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. New York: James L. Hewitt & Co., [s.d.]. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. Boston: C. Bradlee, [s.d.].. Adam, A. Hungarian flag dance. Danced by forty-eight Danseuses Viennoises at the principal theatres in Europe and the United States. For solo piano. Arranged by Edward L. White. Boston: Stephen W. Marsh, 1847. Adams, A.M. La petite surprise! For solo piano. New York: W. Dubois, [s.d.]. Adams, G. Molly put the kettle on. For solo piano. Boston: Oliver Ditson, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss. R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: William Hall & Son, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: Firth, Hall, and Pond, [between 1846 and 1847]. Adams, J.B. Sunbeam polka. For solo piano. Boston: Oliver Ditson, 1853. Adams, J. Willard. Dream life polka. Composed and most respectfully dedicated to the Ladies of Fredericksburg, PA. For solo piano. New York: Firth, Pond, and Co., 1852. -
Accordion (Music Playing) Narrator: Along with the Argentinean Tango
Accordion (Music playing) Narrator: Along with the Argentinean tango, French musettes, and German polkas, the accordion is one of the defining sounds of Central Texas conjunto bands, as well as Southeast Texas Cajun and zydeco music, country, and western swing. (Music playing) N: With its roots dating back to China thousands of years ago, the popularity of this instrument took off in the early nineteenth century in Europe. N: By the mid 1800s, immigrants had brought the accordion to Texas, where it became emblematic in the way different ethnic groups have shared their musical heritage and influences. (Music playing) N: Patented in 1829 by an Austrian named Cyrill Demian, the accordion spread quickly throughout Europe. N: From Ireland to Russia, versatility and sheer volume of this instrument attracted folk musicians who adapted it to their own style of music. N: However, it was the Germans, Czechs, and French who forever changed Texas music with their use of the accordion. (Music playing) N: German immigrants began moving to Central Texas in large numbers in the 1840s, settling in what became known as the “German Belt,”areas including New Braunfels, Fredericksburg, and Luckenbach. N: German folk songs, with the polka, waltz, and schottische dance steps, were a fundamental part of these immigrant communities, and the accordion was essential to their music. (Music playing) N: By the turn-of-the-century, German Texans and Tejanos were increasingly exchanging musical influences. N: Santiago Jiménez began playing the accordion in 1921 at the age of eight. N: His father, Patricio, had been a successful accordion player in Eagle Pass, Texas, and he encouraged his son to play. -
Meditation (1896)
~ran/f_emenfs ~ €. S. MORRISON 1S THE JOHN CHURCH COMPANY Cincinnati. Chicago. New York. Leipsic, London . 3 Meditation. C. S. MORRISON. Op. 90. * , I ~ I I Tl ,_ ------ ... - L- ' ... v ---- ~ - " .... ..... n I'""- ,,, I ,. v " L - , , " :J - -::I - ~ .. - ----- - - ._,- I I '~~· " ~ u .,- ~- I - .... PP. <·rn;c. dim. p ~ qTI - b~ =======:-- - ~ dim. ppatrmpo. 'f rit ] - ~ ;J .J 14,..J J d. ~ .. • L.q~ L,_ q~~ ~ w , i- .... ,, ...... Tl ,_ - - I ,_ ... ... - - - - - ~ .. v -- -- • v Tl .... .. .. ' v . * Copyright MDCCCXCrI by The John Church Company. Ufi89-3-T International Copyright. 4 }Joderato.cM.M.J= ia2 ) - 1-------.,-,- 2--f.\-.--1 Larg~ ~- * ~- * ~- '5!~ . ••rw. 'fw. Allegro. <M.M. J =100) 8-------------------------------------- H5R9-3-T 5 8---------------------------------- --------------------------------------------------------------------------------------------------------- 8---------------------------------------------- ---------------------------------------------- ------------------------------------------ .................. ,...,...,....,... '1 I I ________ ,_ / ~~~~~·~~········ .... -.ca.r.m;.i:-..m,.11111..a..,... ---... - - - ,...- ,... ,... ,... ,... _ ,... .... "· .... ,... ,...,...,_.,_.,... r- ,_. - - - ·- ~ '- --------- - ----------------- - - - " -- - ,_ - I " ,_v -- " , " ..... - ---- I ~ -------- -------- -- dim. ~ p === === === f f t .t I: ! ~ ! <.. ..... .... - -- - - - - - - / .... - - II" ~ \ . - - - " .. ..- '11 '11 ~. * ~. * ~. * 8------------------------------------------------------------------------------------------------------------------------------------------- -
Bellows & Bows: Historic Recordings of Traditional Fiddle & Accordion
Bellows & Bows: Historic Recordings of Traditional Fiddle & Accordion Music from across Canada Disc 1: Newfoundland and Labrador 1. I'se the B'y – Lillian Collins 2. Mrs. Belle's Cotillion – Mrs. Belle Fennelly 3. Young Man You Kissed Me Daughter – Gerald Quinton 4. O My Pretty Dear, Won’t You Come and Rub Me? – Dorman Ralph 5. French Reel – Ivan White 6. Golden Slippers – Tom Uvloriak 7. Inosiga – Tom and Sybilla Uvloriak Nova Scotia 8. La John Muise – Muriel Saulnier (née Muise) 9. La Bastringue – Stella Burridge 10. Marion Waltz / Caledonian Jig / Trip to Windsor – Johnny Mooring 11. Cape Blomindon Reel – Jack Greenough 12. Welcome to Your Feet Again / The Bonny Lass of Fisherrow/ The Bird’s Nest – Winston “Scotty” Fitzgerald 13. Calum Crùbach (Crippled Malcom) / Alex Currie’s Reel / Am Muileann Dubh (The Black Snuffmill) / Sandy Duff’s – Alex Currie 14. The Athole Highlanders Farewell to Loch Katrine / A Trip to Mabou Ridge – Theresa MacLellan Prince Edward Island 15. Princess Reel – Stephen Toole 16. Lad O’Beirne / Dublin Porter – Kenny Chaisson 17. Money Musk – Delphine Arsenault 18. La Marmotteuse – Eddy Arsenault New Brunswick 19. La tune à grand-père – Éloi Leblanc 20. La parenté – Yvon Babin 21. Loggieville Two-step – Matilda Murdoch 22. Zip Coon – Curtis Hicks 23. Sussex Avenue Fiddlers Two-step – The Sussex Avenue Fiddlers Quebec 24. La Ronfleuse – Arthur-Joseph Boulay 25. Reel de Sherbrooke – Les Montagnards Laurentiens 26. Le Brandy des Vaillaincourt – Louis “Pitou” Boudreault 27. Le Quadrille des Lanciers, 1e partie: “La Rencontre des Dames” – Jules Verret 28. La belle époque – Marcel Messervier 29. -
The Thistle 053 October 1972
Issued by the Thistle Club President: Dr. Norman MacKenzie, C.M.G., M.M. 8 Bar, Q.C., LL.D. No. 53 October 1972 OUR DANCES NO. 7”: The highland schottische Couple—dances are sometimes looked down on by your true-blue country—dancer (though, oddly enough, not by highland dancers). And sometimes, indeed, they are of little traditional interest or choreographic worth. The highland schottische is, however, an exception. It is in quite a different category from, say, the Gay Gordons, being considerably older, and having a definite Scottish character——¢he Gay Gordons is a 20th-century novelty dance, and the steps in it could occur in a dance originating any— where from Russia to the U.S.A. (the "picture-frame" hand— hold used being particularly popular in German folk-dances of the Rheinlander type, in American versions of the Var— souvienne, and in some styles of Hopak kolom in the Ukraine). The highland schottische has a very definite place in the Scottish traditional repertoire. Some ten or fifteen years ago it was quite common to find in Canada elderly people who had emigrated from the West Highlands and whose repertoire consisted of precisely two dances: the foursome reel and the highland schottische. These they would cheerfully dance several times each in the course of a ceilidh. Sometime after the polka had become popular in Western Europe, a slower version of the dance arose, known under vari— ous names, but most often as the "schottisch". This word is the German for "Scottish"; the dance may or may not have originated in Germany; it did not originate in Scotland. -
Simple Session Tunes from England, Wales, Scotland and Ireland. All in the Key of G and Within the Compass of the Melodeon
Simple session tunes from England, Wales, Scotland and Ireland. All in the key of G and within the compass of the melodeon, concertina, flute, fiddle, mandolin, penny whistle & banjo and of course shakers & bodhrans. 1 Index WALTZES South Wind Irish. Attributed to Turlough O’Carolan 1670-1738 4 Michael Turners Waltz Sussex, England - derived in 1788 from Mozart, (Austrian Dances KV 536 No. 2) 4 The Man in the Moon Everybody’s Song Book (1858) – used as a dance tune by Scan Tester, Sussex 4 Nutley Waltz Generally attributed to Scan Tester (Concertina) 1882-1972 5 Stow Fair English - can’t trace origin – known by DS for >50 years 5 Waltz Vienna Scan Tester, Sussex ~1972 5 JIGS Cock of the North 17-18thc. Scottish bagpipe tune, also known irreverently as ‘Auntie Mary had a canary’ 6 Blaydon Races Music hall song by Georgie Ridley 1862. 6 Oscar Woods jig Oscar Woods, Benham Green, Saxmundham d.1988. (also known as Tiger Smiths jig) 6 Fakenham Fair The Bullen family, Norfolk – early 20th cent. Song noted by Peter Bellamy 7 Oyster Girl John Mason (aged 72), Stow in the Wold workhouse 1927. Noted by Cecil Sharp. 7 Happy Clown John Walsh – Complete Dancing Master Vol 4 1740 7 POLKAS Jack Robinson William Tilbury of Pitch Place,Surrey, from Fiddler Hammond d.1870 8 Three around three English / Irish dance tune – traditionally used as a polka 8 Hunt the squirrel English Polka, learned from John Kirkpatrick 9 Sussex Breast Knot Polka – from Sussex? 9 Shepton Mallet H’pipe Claimed to be an Irish tune? Can be played as a hornpipe – we’ll play it as a polka.