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Newsletter 271, November 1979
THE INTERNATIONAL CONCERTINA ASSOCIATION No. 271 N E W S L E T T E R Nov. 1979 President: Rev. Kenneth Loveless, V.R.D., F.S.A., F.S.A. Scot., R.N.R. Secretary: J. Harvey, 44 St. Barnabas Street, London S.W.1. Treasurer: F.J. Hutcherson, 45 Valentine Avenue, Bexley, Kent. Notices The next meeting is our Christmass Social, which is on Saturday 8th December, at Montem School Annexe, Hornsey Road, Holloway, London N.7. from 2.00pm to 6.00pm. Nearest Tube stations are Holloway Road, and Finsbury Park. Note the earlier time than usual. The Annual General Meeting will be held on Saturday January 26th at the Conway Hall, Red Lion Square, Holborn, London. Further details in the next Newsletter. We still have no nominations for next year's committee. If you have any suggestions, write to Jim Harvey, address above. We also need an Auditor. If you think you can do the job, or know someone capable of doing it, please write to John Hutcherson, address above. Christmass Message from the President This year the concertina has been celebrating its 150th anniversary. It is one of only two instruments that we have so far managed to invent, the other being the Northumbrian smallpipes, on which so many young people are beginning to be wonderfully proficient. Our instrument was patented in 1829, and had its heyday in the early years of the 20th century, when it could be described as a 'parlour instrument'. These were the times when families made their own music in their own houses and often invited the neighbours in for what was called a 'musical evening'. -
Lyrics – by Popular Demand
By Popular Demand Lyrics – By Popular Demand Finnegan's Wake (Trad.) Tim Finnegan lived in Watling St., a gentleman Irish mighty odd, He had a brogue both rich and sweet, and to rise in the world he carried a hod. Tim had a sort of a tippler's way, with a love for the liquor poor Tim was born To help him on his work each day, he'd a drop of the craytur every morn. Chorus: Whack fol-de-da now, dance to your partners, welt the floor, yer trotters shake, Wasn't it the truth I told ye, lots of fun at Finnegan's Wake. One morning Tim was rather full, his head felt heavy which made him shake, Fell off a ladder and he broke his skull, and they carried him home his corpse to wake, They wrapped him up in a nice clean sheet and laid him out upon the bed, With a barrel of whiskey at his feet and a bucket of porter at his head. Chorus: The guests assembled at the wake, when Mrs. Finnegan called for Lunch, First she brought them tea and cake, pipes, tobacco, and brandy punch. Then the Widow Malone began to cry, "Such a nice clean corpse did you ever see? "Tim mavourneen, why did ye die?" "Hould yer gob." said Molly Magee. Chorus: Then Molly Malone takes up the job; "Ah Biddy" says she, "you're wrong I'm sure." Biddy fetched her a belt in the gob that left her sprawling on the floor. Civil war did then engage, woman to woman and man to man, Shillelagh law was all the rage and a row and a ruction soon began. -
Kansas History and Folksong
KANSAS HISTORY AND FOLKSONG by Bill and Mary Koch America's musical heritage is a strange mixture, but from its songs, and especially its folksongs, we can relive our historical past. As our ter ritories developed and new states came into the union, songs were made and sung which purported to tell of life and conditions in the new state. Kansas was a crucial area a hundred years ago, and the whole nation's at tention was directed toward her and toward what might transpire on these prairies. The Civil War slowed down the westward movement, but only temporarily, for a new hope had already been fired in the hearts of people, especially those from the old northwest and from the eastern seaboard. Walt Whitman, America's great poet of democratic principles, real ized early in the 19th century the part that music would play in this west ward movement and the settlement of America's great heartland. He praised the west and foresaw what Frederick Jackson Turner, the eminent historian, was to say later about the west\vard movement-that the natural processes of settlement in succeeding new areas afforded the opportunity to slough off undesirable, non-democratic principles and institutions. Both Turner and Whitman were romanticists; that well-known phrase, "The American Dream," meaning the idea of the freedom of opportunity to all, is the theme of much of their literary output. Only a vast public domain and free land could spark this dream to a reality, so men would actually point their covered wagons westward with kids, dogs, hogs, and all, -
MUG Songsheets Book 7: Contents
MUG Songsheets Book 7: Contents 1. Walk of Life Dire Straits 2. The Locomotion Little Eva 3. Rockin’ in the Free World Neil Young 4. The Letter The Box Tops 5. Lazy Sunday Small Faces 6. The Young Ones Cliff Richard & The Shadows 7. Early Morning Rain Gordon Lightfoot 8. The Wanderer Dion 9. Hang On Sloopy The McCoys 10. Black Velvet Band The Dubliners, etc. 11. Wild Rover The Dubliners, etc. 12. Rock and Roll Music Chuck Berry, The Beatles 13. A Picture of You Joe Brown 14. Lucy in the Sky with Diamonds The Beatles 15. Wonderful World Sam Cooke 16. Paint It Black The Rolling Stones 17. Shotgun George Ezra 18. Ruby Kaiser Chiefs 19. Alright Supergrass 20. Here Comes My Baby Cat Stevens, The Tremeloes 21. You Were Made For Me Freddie and the Dreamers 22. Golden Brown The Stranglers 23. Sundown Gordon Lightfoot 24. Dakota Stereophonics 25. Bad Moon Rising Creedence Clearwater Revival 26. Dancing In the Dark Bruce Springsteen 27. Honky Tonk Women The Rolling Stones 28. Sweet Dreams are Made of This The Eurythmics 29. I Haven’t Told Her, She Hasn’t Told Me Art Fowler 30. Echo Beach Martha and the Muffins 31. Take It Easy The Eagles 32. Poetry In Motion Johnny Tillotson 33. Manic Monday The Bangles 34. Singin’ In The Rain Gene Kelly 35. The Last Time The Rolling Stones 36. The Gambler Kenny Rogers 37. Gimme! Gimme! Gimme! ABBA 38. With a Little Help From My Friends The Beatles 39. All You Need is Love The Beatles MUG Songsheets Book 7: Alphabetical Contents 13. -
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 -
Durham E-Theses
Durham E-Theses English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene ROBINSON, ALICE,MERIEL How to cite: ROBINSON, ALICE,MERIEL (2021) English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13924/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 English Folk under the Red Flag: The Impact of Alan Bush’s ‘Workers’ Music’ on 20 th Century Britain’s Left-Wing Music Scene Alice Robinson Abstract Workers’ music: songs to fight injustice, inequality and establish the rights of the working classes. This was a new, radical genre of music which communist composer, Alan Bush, envisioned in 1930s Britain. -
2016-Program-Booklet-Final.Pdf
CONTENTS Page Background on the Workshop 4 “Antique (SSP) Archæology” - Ralph R. Loomis Tips for a New Scottish Smallpipe Owner 8 Chris Pinchbeck The William Davidson (Glenesk) Pipes 12 Ian Kinnear Meet Your Maker - Kim Bull 15 Richard Shuttleworth Goodacre’s Razor A CUT BELOW THE OTHERS. 17 Julian Goodacre How dos Wood choice afect the Tone of Bagpipes? 18 And a number of refections on Pipe Making and Tone - Nate Banton A New Perspective on Old Technique, Scales and Embellishments 21 Barry Shears Biographies 21 Dan Foster 22 Barry Shears 21 Laura MacKenzie 23 Brian McNamara 22 Chris Gray 23 Benedict Kœhler 22 Owen Marshall 23 Bill Wakefeld 22 Iain MacInnes 23 Will Woodson Music 24 The Wisdom House Gathering (music) - Bob Cameron 25 The Lichtfeld Hills (music) - Bob Cameron 26 Didn’t We Meet in Lichtfeld? (music) - Bob Cameron Dear Piping Friends, Welcome to the 2016 Pipers’ Gathering. We’re thrilled to offer you a stellar line- up of instructors - we work hard to bring you a consistently interesting mix of folks from North American and across the pond. You’ll hear a lot at this year’s Gathering about sustainability, applied in many different ways. Attending events like ours and playing in your communities sustains a small piping tradition: • We welcome attendees of all ages who are new to bellows-blown piping. Hopefully this event will inspire you to stick with them, and do your part to sustain the traditional music community in your area in your own unique way! • We welcome those who are taking a risk and trying something new at any age! Whether you already play one type of “alt” pipes, and are giving another type a try, or are push- ing yourself a little outside your comfort zone with new tunes and techniques, you are sustaining the tradition as well. -
The Creighton-Senior Collaboration, 1932-51
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Athabasca University Library Institutional Repository The Creighton-Senior Collaboration, 1932-51 The arrival of Doreen Senior in Halifax in the book, and she was looking for a new collaborator summer of 1932 was a fortuitous event for Canadian who could note the melodies while she wrote down folksong collecting. Doreen, a friend and disciple of the words. In her autobiography, A Life in Folklore, Maud Karpeles, was a folk and country dance she recalled her first meeting with Doreen in the instructor, trained by the English Folk Dance Society, following terms: who anticipated a career as a music teacher making good use of Cecil Sharp's published collections of For years the Nova Scotia Summer School had Folk Songs for Schools. She was aware that Maud been bringing interesting people here, and one day I was invited to meet a new teacher, Miss had recently undertaken two successful collecting Doreen Senior of the English Folk Song and trips to Newfoundland (in 1929 and 1930), and was Dance Society. She liked people and they liked curious to see if Nova Scotia might similarly afford her to such an extent that whenever I met one of interesting variants of old English folksongs and her old summer school students in later years, ballads, or even songs that had crossed the Atlantic they would always ask about her. She was a and subsequently disappeared in their more urban and musician with the gift of perfect pitch and she industrialized land of origin. -
Eloise Hubbard Linscott Collection [Finding Aid]. Library of Congress
Eloise Hubbard Linscott collection Guides to the Collections in the Archive of Folk Culture American Folklife Center, Library of Congress Washington, D.C. June 2013 Contact information: http://hdl.loc.gov/loc.afc/folklife.contact Additional search options available at: http://hdl.loc.gov/loc.afc/eadafc.af013006 LC Online Catalog record: http://lccn.loc.gov/2008700340 Prepared by Marcia K. Segal Collection Summary Title: Eloise Hubbard Linscott collection Inclusive Dates: 1815-2002 Bulk Dates: 1932-1955 Call No.: AFC 1942/002 Creator: Linscott, Eloise Hubbard Extent (Manuscripts): 34 boxes (18 linear feet); 198 folders. Extent (Sound Recordings): 11 sound cylinders : analog. Extent (Sound Recordings): 441 sound discs : analog ; various sizes. Extent (Sound Recordings): 32 sound tape reels : analog ; various sizes. Extent (Sound Recordings): 1 sound cassette : analog. Extent (Graphic Materials): circa 200 photographs : photographic prints, negatives ; various sizes. Extent (Graphic Materials): 12 drawings. Language: Manuscripts in English; songs sung in English, French, Navajo, Passamaquoddy, Wabanaki, and Wampanoag. Location: Archive of Folk Culture, American Folklife Center, Library of Congress , Washington, D.C. http://hdl.loc.gov/ loc.afc/folklife.home Summary: Eloise Hubbard Linscott’s collection of research materials for her book, Folk Songs of Old New England (1939) and other folk music research through about 1955. The collection includes correspondence; music transcriptions; sound recordings of folk music, lectures, and radio broadcasts; photographs of Linscott's informants; documentation of events and trips within New England; plus some materials from her estate, dated circa 1815-2002. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. -
Willie Mathieson and the Primary Audience for Traditional Song
SAKYTINĖS IR RAŠTO KULTŪROS SAMPYNOS Willie Mathieson and the Primary Audience for Traditional Song THOMAS A. Mc KEAN Elphinstone Institute, University of Aberdeen ABSTRACT. Focusing on the song notebooks of William Mathieson (1879–1958), a farmworker in North-East Scotland, this essay examines the role of tradition in one man’s life, proposing that people learn, preserve, and perform folklore largely for themselves. Mathieson’s material is preserved as handwritten and typed texts, along with cylinder and tape recordings, made across more than half a century by three collectors: James Madison Carpenter, Hamish Henderson and, crucially, Mathieson himself. I suggest that this depth of evidence can be used in future to elucidate the essential nature of specific examples, but most importantly, I show that the primary audience for tradition is the individual. KEYWORDS: repertoire, fieldwork, audience, folk song, autoethnography. It this book that I have penned Of songs that I hae1 heard About lovers true and ones that rue And sangs about takin each ither’s lives Songs I’ve heard from young folk And them that’s growin a beard Aboot some lassie they hae loed And things that they hae heard – William Mathieson, MS I, 4: 532 This essay explores the texture of song in the life of Scottish singer Willie Mathieson (1879–1958), with particular reference to his extensive notebook collections of 1 Mathieson spoke North-East Scots, or Doric, a regional variety of the Scots language. Selected words can be found in the glossary; for more detail, see the Dictionar o the Scots Leid at www.dsl.ac.uk. -
Model Music Curriculum: Key Stages 1 to 3 Non-Statutory Guidance for the National Curriculum in England
Model Music Curriculum: Key Stages 1 to 3 Non-statutory guidance for the national curriculum in England March 2021 Foreword If it hadn’t been for the classical music played before assemblies at my primary school or the years spent in school and church choirs, I doubt that the joy I experience listening to a wide variety of music would have gone much beyond my favourite songs in the UK Top 40. I would have heard the wonderful melodies of Carole King, Elton John and Lennon & McCartney, but would have missed out on the beauty of Handel, Beethoven and Bach, the dexterity of Scott Joplin, the haunting melody of Clara Schumann’s Piano Trio in G, evocations of America by Dvořák and Gershwin and the tingling mysticism of Allegri’s Miserere. The Model Music Curriculum is designed to introduce the next generation to a broad repertoire of music from the Western Classical tradition, and to the best popular music and music from around the world. This curriculum is built from the experience of schools that already teach a demanding and rich music curriculum, produced by an expert writing team led by ABRSM and informed by a panel of experts – great teachers and musicians alike – and chaired by Veronica Wadley. I would like to thank all involved in producing and contributing to this important resource. It is designed to assist rather than to prescribe, providing a benchmark to help teachers, school leaders and curriculum designers make sure every music lesson is of the highest quality. In setting out a clearly sequenced and ambitious approach to music teaching, this curriculum provides a roadmap to introduce pupils to the delights and disciplines of music, helping them to appreciate and understand the works of the musical giants of the past, while also equipping them with the technical skills and creativity to compose and perform. -
COUNTRY DANCE and SONG: a SUBJECT and AUTHOR INDEX from VOLUME 1, 1968, THROUGH VOLUME 26, 1996 Compiled by Allison Thompson
TWENTY-EIGHT YEARS OF COUNTRY DANCE AND SONG: A SUBJECT AND AUTHOR INDEX FROM VOLUME 1, 1968, THROUGH VOLUME 26, 1996 Compiled by Allison Thompson NOTE: This index originally appeared in Volume 23 of Country Dance and Song and was updated in 2016. Abbots Bromley Horn Dance “The Abbots Bromley Horn Dance,” vol. 17, 1986, pp. 2-15 photo of, vol. 3, 1970, p. 42 tradition at Pinewoods, vol. 19, 1989, p. 23 Abingdon morris dances collected by Mabel Tuke, vol. 11/12, 1981, p. 49 photos, vol. 2, 1969, pp. 10-11 see also Dances, Instructions for; Warren, Florence Aldrich, Elizabeth review of From the Ballroom to Hell, vol. 22, 1992, pp. 36-38 Allen, Rosa, “Family Songs (A Review of),” vol. 8, 1977, pp. 12-13 Amherst Dance Camp in 1916-17, vol. 6, 1974, p. 12; vol. 23, pp. 13-14 Sharp teaching at, vol. 19, 1989, p. 1 summer schools in 1927-32, vol. 19, 1989, p. 3 Gadd teaching at, vol. 19, 1989, p. 3 Appalachian dancing, vol. 23, 1993, pp. 19-26 see also Dances, etc. Apted Collection, vol. 3, 1970, p. 6 Arbeau, Thoinot Orchesography (trans. M.S. Evans), reviewed by John Dunn, vol. 1, 1968, pp. 36-37 Atwood Family collected by E. Sturgis, vol. 21, 1991, p. 27 vol. 11/12, 1981, pp. 5-7; vol. 11/12, 1981, pp. 20-39 Atwood, Fred collected by M. MacArthur, vol. 11/12, 1981, pp. 7-19 songs of, vol. 21, 1991, pp. 26-39 Avril, Elsie, fiddler for Sharp, vol. 7, 1975, pp.