Allen's Master Dance Tune Index
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In Honolulu's Christ Church in Kailua, Which Will Repeat Next Hemenway Theatre, UH Manoa Campus: Wed
5 The Fear Factor 8 Pritchett !ICalendar 13 Book Bonanza l!IStraight Dope Volume 3, Number 45, November 10, 1993 FREE Interview by JOHN WYTHE WHITE State Representative DaveHagino has spent 15 years fighting the system he's a partof- and theparty he belongs to. !JiORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS 8 ,,,, :,..: ;o 0 0 � �L � w ffi 8 Cl 0 ;,<; 0::: w 0 il,1.. � SELECTION: w 2 No Comparison 00 Cl 0::: i0 co co 0 ;o 0 -- -- co�:. 0 0 7' $�··· C nw oco ;o· · 0 m � co 0 0 w7' ::c: :::: C w 0:co 0 ;o 0 m � co 0 0 ci: � $ C w Borders® Books &Music. n ;o8 0 m The whole idea behind Finda book or music store the new Borders Books w;o co .- Borders Books & Music is to &Music. 0 with more titles and 0 w7' create an appealing place with Welcome to the new � $ we'll shop there. C more selection. So we brought Borders Books &Music. w () 100,000 in over book titles, more times the average store. Borders co 0 than 5 times the average bookstore. especially excels in classical and ;o It 0 CD m .r::;"' � OJ ;o What that means is that Borders jazz recordings. 0 E w (.) "' i co .r::; 'l' CD I 0 E 0 offersmore history, more com Borders also carries the area's (!) 0 """' 7' H-1 Fwy. w puters, more cooking. More of broadest selection of videotapes, � Waikele/Waipahu Exit 7 ::::: C everything, not just more copies including classic and foreign films. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
Old Time Banjo
|--Compilations | |--Banjer Days | | |--01 Rippling Waters | | |--02 Johnny Don't Get Drunk | | |--03 Hand Me down My Old Suitcase | | |--04 Moonshiner | | |--05 Pass Around the Bottle | | |--06 Florida Blues | | |--07 Cuckoo | | |--08 Dixie Darling | | |--09 I Need a Prayer of Those I Love | | |--10 Waiting for the Robert E Lee | | |--11 Dead March | | |--12 Shady Grove | | |--13 Stay Out of Town | | |--14 I've Been Here a Long Long Time | | |--15 Rolling in My Sweet Baby's Arms | | |--16 Walking in the Parlour | | |--17 Rye Whiskey | | |--18 Little Stream of Whiskey (the dying Hobo) | | |--19 Old Joe Clark | | |--20 Sourwood Mountain | | |--21 Bonnie Blue Eyes | | |--22 Bonnie Prince Charlie | | |--23 Snake Chapman's Tune | | |--24 Rock Andy | | |--25 I'll go Home to My Honey | | `--banjer days | |--Banjo Babes | | |--Banjo Babes 1 | | | |--01 Little Orchid | | | |--02 When I Go To West Virginia | | | |--03 Precious Days | | | |--04 Georgia Buck | | | |--05 Boatman | | | |--06 Rappin Shady Grove | | | |--07 See That My Grave Is Kept Clean | | | |--08 Willie Moore | | | |--09 Greasy Coat | | | |--10 I Love My Honey | | | |--11 High On A Mountain | | | |--12 Maggie May | | | `--13 Banjo Jokes Over Pickin Chicken | | |--Banjo Babes 2 | | | |--01 Hammer Down Girlfriend | | | |--02 Goin' 'Round This World | | | |--03 Down to the Door:Lost Girl | | | |--04 Time to Swim | | | |--05 Chilly Winds | | | |--06 My Drug | | | |--07 Ill Get It Myself | | | |--08 Birdie on the Wire | | | |--09 Trouble on My Mind | | | |--10 Memories of Rain | | | |--12 -
Hornpipes and Disordered Dancing in the Late Lancashire Witches: a Reel Crux?
Early Theatre 16.1 (2013), 139–49 doi: http://dx.doi.org/10.12745/et.16.1.8 Note Brett D. Hirsch Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux? A memorable scene in act 3 of Thomas Heywood and Richard Brome’s The Late Lancashire Witches (first performed and published 1634) plays out the bewitching of a wedding party and the comedy that ensues. As the party- goers ‘beginne to daunce’ to ‘Selengers round’, the musicians instead ‘play another tune’ and ‘then fall into many’ (F4r).1 With both diabolical interven- tion (‘the Divell ride o’ your Fiddlestickes’) and alcoholic excess (‘drunken rogues’) suspected as causes of the confusion, Doughty instructs the musi- cians to ‘begin againe soberly’ with another tune, ‘The Beginning of the World’, but the result is more chaos, with ‘Every one [playing] a seuerall tune’ at once (F4r). The music then suddenly ceases altogether, despite the fiddlers claiming that they play ‘as loud as [they] can possibly’, before smashing their instruments in frustration (F4v). With neither fiddles nor any doubt left that witchcraft is to blame, Whet- stone calls in a piper as a substitute since it is well known that ‘no Witchcraft can take hold of a Lancashire Bag-pipe, for itselfe is able to charme the Divell’ (F4v). Instructed to play ‘a lusty Horne-pipe’, the piper plays with ‘all [join- ing] into the daunce’, both ‘young and old’ (G1r). The stage directions call for the bride and bridegroom, Lawrence and Parnell, to ‘reele in the daunce’ (G1r). At the end of the dance, which concludes the scene, the piper vanishes ‘no bodie knowes how’ along with Moll Spencer, one of the dancers who, unbeknownst to the rest of the party, is the witch responsible (G1r). -
Playing Music for Morris Dancing
Playing Music for Morris Dancing Jeff Bigler Last updated: June 28, 2009 This document was featured in the December 2008 issue of the American Morris Newsletter. Copyright c 2008–2009 Jeff Bigler. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. This document may be downloaded via the internet from the address: http://www.jeffbigler.org/morris-music.pdf Contents Morris Music: A Brief History 1 Stepping into the Role of Morris Musician 2 Instruments 2 Percussion....................................... 3 What the Dancers Need 4 How the Dancers Respond 4 Tempo 5 StayingWiththeDancers .............................. 6 CuesthatAffectTempo ............................... 7 WhentheDancersareRushing . .. .. 7 WhentheDancersareDragging. 8 Transitions 9 Sticking 10 Style 10 Border......................................... 10 Cotswold ....................................... 11 Capers......................................... 11 Accents ........................................ 12 Modifying Tunes 12 Simplifications 13 Practices 14 Performances 15 Etiquette 16 Conclusions 17 Acknowledgements 17 Playing Music for Morris Dancing Jeff Bigler Morris Music: A Brief History Morris dancing is a form of English street performance folk dance. Morris dancing is always (or almost always) performed with live music. This means that musicians are an essential part of any morris team. If you are reading this document, it is probably because you are a musician (or potential musician) for a morris dance team. Good morris musicians are not always easy to find. In the words of Jinky Wells (1868– 1953), the great Bampton dancer and fiddler: . [My grandfather, George Wells] never had no trouble to get the dancers but the trouble was sixty, seventy years ago to get the piper or the fiddler—the musician. -
Radio Stations
Date Contacted Comments RA_Call EMail FirstName Bluegrass(from Missy) James H. Bluegrass(from Missy) Joe Bluegrass(from Missy) James H. Sent dpk thru Airplay Direct [email protected] 2/9/2014 Bluegrass(from Missy) m Tom Sent dpk thru Airplay Direct cindy@kneedeepi 2/9/2014 Bluegrass(from Missy) nbluegrass.com Cindy Sent dpk thru Airplay Direct drdobro@mindspri 2/9/2014 Bluegrass(from Missy) ng.com Lawrence E. Sent dpk thru Airplay Direct georgemcknight@ 2/9/2014 Bluegrass(from Missy) telus.net George Sent dpk thru Airplay Direct greatstuffradio@y 2/9/2014 Bluegrass(from Missy) ahoo.com Gene Sent dpk thru Airplay Direct jadonchris@netco 2/9/2014 Bluegrass(from Missy) mmander.com Jadon Sent dpk thru Airplay Direct roy@mainstreetbl 2/9/2014 Bluegrass(from Missy) uegrass.com Roy From Americana Music Association reporting stations list ACOUSTIC CAFE Rob From Americana Music Association reporting stations list ALTVILLE Vicki From Americana Music Association reporting stations list Country Bear Stan From Americana Music Association reporting stations list Current 89.3 David From Americana Music Association reporting stations list Farm Fresh Radio Chip From Americana Music Association reporting stations list Folk Alley - WKSU Linda From Americana Music Association reporting stations list FolkScene Roz Sending physical copy 2/2014 per his arthu2go@yahoo. facebook request. Bluegrass(from Missy) 105.9 Bishop FM co.uk Terry Sent dpk thru Airplay Direct lindsay@ozemail. 2/9/2014 Bluegrass(from Missy) 2RRR com.au Lindsay Sent dpk thru Airplay Direct tony.lake@amtac. 2/9/2014 Bluegrass(from Missy) 400R net Tony Sent dpk thru Airplay Direct bluemoon@bluegr 2/9/2014 Bluegrass(from Missy) ACTV-4 asstracks.net Jon C. -
Trinity Irish Dance Study Guide.Indd
● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film. -
ATL 2016 Bios of Leaders & Musicians
ACROSS THE LAKE ~ JUNE 10, 11, 12, 2016 English Country Dance Weekend on the Vermont side of Lake Champlain OUR TEACHERS Scott Higgs began dancing in college, and started teaching soon thereafter, when the knowledgeable dancers graduated! For many years he has traveled the world (25 states and 6 foreign countries) delighting dance enthusiasts at weekends and week- long dance camps. His engaging programs make everyone welcome: offering nuances to engage experts, with a light- hearted approach that makes novices feel comfortable and successful. Scott takes particular pleasure in helping dancers stretch their skills and discover new aspects of music and dance, with an emphasis on fun! Scott has composed many of his own dances, and has developed and led intensive dance leadership workshops. Scott has served as a program director for CDSS at Pinewoods and has also served on the CDSS Board of Directors. Melissa Running discovered she could take folk dance for PE credit in college, and never looked back. She started playing for dances and then calling English in the Philadelphia area. She now lives in Silver Spring, MD, calls nationally, plays piano for English and Scottish country dancing, and plays the nyckelharpa for pleasure and for Swedish dancing (and a little Norwegian, and sometimes English). She’s written a number of dances and a larger number of tunes. In her other life, she is a technical writer for a government contractor, where she may yet convince her colleagues to come dancing after work. She is renowned for her warm, accessible, and fun-loving style leading English Country dance. -
WV Graded Music List 2011
2011 WV Graded Music List, p. 1 2011 West Virginia Graded Music List Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade Artist Arranger Title Publisher 1 - Higgins, John Suo Gan HL 1 - McGinty Japanese Folk Trilogy QU 1 - McGinty, Anne Elizabethan Songbook, An KJ 1 - Navarre, Randy Ngiele, Ngiele NMP 1 - Ployhar Along the Western Trail BE 1 - Ployhar Minka BE 1 - Ployhar Volga Boat Song BE 1 - Smith, R.W. Appalachian Overture BE Variant on an Old English 1 - Smith, R.W. BE Carol 1 - Story A Jubilant Carol BE 1 - Story Classic Bits and Pieces BE 1 - Story Patriotic Bits and Pieces BE 1 - Swearingen Three Chorales for Band BE 1 - Sweeney Shenandoah HL 1 Adams Valse Petite SP 1 Akers Berkshire Hills BO 1 Akers Little Classic Suite CF 1 Aleicheim Schaffer Israeli Folk Songs PO 1 Anderson Ford Forgotten Dreams BE 1 Anderson Ford Sandpaper Ballet BE 1 Arcadelt Whiting Ave Maria EM 1 Arensky Powell The Cuckoo PO 1 Bach Gardner Little Bach Suite ST Grand Finale from Cantata 1 Bach Gordon BO #207 1 Bach Walters Celebrated Air RU 1 Bain, James L. M Wagner Brother James' Air BE 1 Balent Bold Adventure WB Drummin' With Reuben And 1 Balent BE Rachel 1 Balent Lonesome Tune WB 1 Balmages Gettysburg FJ 2011 WV Graded Music List, p. 2 1 Balmages Majestica FJ 1 Barnes Ivory Towers of Xanadu SP 1 Bartok Castle Hungarian Folk Suite AL 1 Beethoven Clark Theme From Fifth Symphony HL 1 Beethoven Foulkes Creation's Hymn PO 1 Beethoven Henderson Hymn to Joy PO 1 Beethoven Mitchell Ode To Joy CF 1 Beethoven Sebesky Three Beethoven Miniatures Al 1 Beethoven Tolmage -
Naples, 1781-1785 New Evidence of Queenship at Court
QUEENSHIP AND POWER THE DIARY OF QUEEN MARIA CAROLINA OF NAPLES, 1781-1785 New Evidence of Queenship at Court Cinzia Recca Queenship and Power Series Editors Charles Beem University of North Carolina, Pembroke Pembroke , USA Carole Levin University of Nebraska-Lincoln Lincoln , USA Aims of the Series This series focuses on works specializing in gender analysis, women's studies, literary interpretation, and cultural, political, constitutional, and diplomatic history. It aims to broaden our understanding of the strategies that queens-both consorts and regnants, as well as female regents-pursued in order to wield political power within the structures of male-dominant societies. The works describe queenship in Europe as well as many other parts of the world, including East Asia, Sub-Saharan Africa, and Islamic civilization. More information about this series at http://www.springer.com/series/14523 Cinzia Recca The Diary of Queen Maria Carolina of Naples, 1781–1785 New Evidence of Queenship at Court Cinzia Recca University of Catania Catania , Italy Queenship and Power ISBN 978-3-319-31986-5 ISBN 978-3-319-31987-2 (eBook) DOI 10.1007/978-3-319-31987-2 Library of Congress Control Number: 2016947974 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. -
Creolizing Contradance in the Caribbean
Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean. -
Scott & Bailey 2 Wylie Interviews
Written by Sally Wainwright 2 PRODUCTION NOTES Introduction .........................................................................................Page 3 Regular characters .............................................................................Page 4 Interview with writer and co-creator Sally Wainwright ...................Page 5 Interview with co-creator Diane Taylor .............................................Page 8 Suranne Jones is D.C. Rachel Bailey ................................................Page 11 Lesley Sharp is D.C. Janet Scott .......................................................Page 14 Amelia Bullmore is D.C.I. Gill Murray ................................................Page 17 Nicholas Gleaves is D.S. Andy Roper ...............................................Page 20 Sean Maguire is P.C. Sean McCartney ..............................................Page 23 Lisa Riley is Nadia Hicks ....................................................................Page 26 Kevin Doyle is Geoff Hastings ...........................................................Page 28 3 INTRODUCTION Suranne Jones and Lesley Sharp resume their partnership in eight new compelling episodes of the northern-based crime drama Scott & Bailey. Acclaimed writer and co-creator Sally Wainwright has written the second series after once again joining forces with Consultancy Producer Diane Taylor, a retired Detective from Greater Manchester Police. Their unique partnership allows viewers and authentic look at the realities and responsibilities of working within