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282 Newsletter
NEWSLETTER #282 COUNTY SALES P.O. Box 191 November-December 2006 Floyd,VA 24091 www.countysales.com PHONE ORDERS: (540) 745-2001 FAX ORDERS: (540) 745-2008 WELCOME TO OUR COMBINED CHRISTMAS CATALOG & NEWSLETTER #282 Once again this holiday season we are combining our last Newsletter of the year with our Christmas catalog of gift sugges- tions. There are many wonderful items in the realm of BOOKs, VIDEOS and BOXED SETS that will make wonderful gifts for family members & friends who love this music. Gift suggestions start on page 10—there are some Christmas CDs and many recent DVDs that are new to our catalog this year. JOSH GRAVES We are saddened to report the death of the great dobro player, Burkett Graves (also known as “Buck” ROU-0575 RHONDA VINCENT “Beautiful Graves and even more as “Uncle Josh”) who passed away Star—A Christmas Collection” This is the year’s on Sept. 30. Though he played for other groups like Wilma only new Bluegrass Christmas album that we are Lee & Stoney Cooper and Mac Wiseman, Graves was best aware of—but it’s a beauty that should please most known for his work with Lester Flatt & Earl Scruggs, add- Bluegrass fans and all ing his dobro to their already exceptional sound at the height Rhonda Vincent fans. of their popularity. The first to really make the dobro a solo Rhonda has picked out a instrument, Graves had a profound influence on Mike typical program of mostly standards (JINGLE Auldridge and Jerry Douglas and the legions of others who BELLS, AWAY IN A have since made the instrument a staple of many Bluegrass MANGER, LET IT bands everywhere. -
Students in Very Small Groups (Maximum 4 We Are Looking for an Individual with Excellent Central Headington - Available Mid-August, 3-4 Double Students) Or 1:1
Queries & Adverts: 01865 241133 (Mon-Fri 9-6) JJOBSOBS OOFFEREDFFERED HHOUSESOUSES & FFLATSLATS TTOO LLETET 11990 mmoreore oonn wwww.dailyinfo.co.ukww.dailyinfo.co.uk HHOUSESOUSES & FFLATSLATS TTOO LETLET or via www.dailyinfo.co.uk Oxford’s Snail mail: First Floor, 121 Cowley Road, Oxford OX4 1HU Email: [email protected] ALL NEW PROPERTIES ! Line ads @ 50p/word. (min. 10) + VAT OISE Oxford requires highly motivated, qualifi ed EFL Cowley Road - Furnished, 4 bedrooms, WEEKLY Display boxes @ £10-£12/cm. (min. 3cm) + VAT teachers for work on Adults’ Business and General landscaped garden with patio, large kitchen, English courses during the summer. Online Support Coordinator sitting room & separate dining room. Teaching for OISE involves teaching serious, motivated Academic - Online Support £1800pcm. Ref 25132 INFO www.dailyinfo.co.uk professional students in very small groups (maximum 4 We are looking for an individual with excellent Central Headington - Available mid-August, 3-4 double students) or 1:1. Full- and Part-Time contracts available, bedrooms, 1 single bedroom, separate breakfast room, fantastic 4–12 weeks in duration during July and August. Excellent communication skills and computer literacy to join our Issue No. 7997 Next issue: Tue 28th April. Deadline: 10am, Mon 27th April garden, fully furnished. £1650 / £1600pcm. Ref 25130 rates of pay in a professional, supportive and friendly growing Online Support team at Oxford University Press. Fri 24th - Mon 27th April 2009 (weekly during vac) school. Please apply with a CV and covering letter to: Th e Online Support department is a fast growing team Oxford Student Houses To Let 2009 - 2010 Unique opportunity responsible for providing support to users of our online Edwardian Conversion - Director of Studies, OISE, 13 – 15 High Street, Oxford, for I remaining apartment, 2 double bedrooms, 2 single WWHAT’SHAT’S OONN / CCOMINGOMING SSOONOON OX1 4EA; or by email: [email protected] products around the world. -
1 B.O.M.Newsletter #331Web 今年の IBMA・WOB ツアー 今月の新入荷
B.O.M.Newsletter #331web なるシエラ・ハルのツアーをサポートしてください。 お願いします!! 2008 年 5 月 9 日 ▼ 25 年目を迎えているムーンシャイナー誌です!! ▼今月のニュースレターはウエブサイトのみです。紙刷 月刊ムーンシャイナー定期購読は1年間(1 2 冊) り版ご希望の方はお申し出下さい。 ¥6,000- 半年間(6冊)¥3,300-。購読開始希望月を お知らせいただければ、振り込み票とともに早速お送 ▼恒例の「宝塚春フェス」は、いつもの三田アスレチッ りします。…定期購読を、是非ともよろしく!! ク(0795-69-0024)で、5 月 31 日(土)3 時から 6 月 1 日 最新 5 月号(MS-2507 ¥525-)は来日のクリス・ヒ (日)のお昼頃まで、新緑の山中、野外で開催します(雨 ルマンとハーブ・ぺダースンを表紙特集に、カリフォ 天の場合は屋内)。コンサートは午後 6 時から、現地書き ルニア・ブルーグラス考、ペティブーカ『TOKYO 込み式でプログラムを作成します。梅雨入り前の一日、 Bluegrass Honeys』、マイク伊藤『音楽から見えるア キャンプをしながら森林浴や「焚き火ジャム」で英気を メリカ』、ゲティスバーグ・ブルーグラス・フェス、 養いませんか?参加費用 ¥2,500- ディープサウス・ピッキンパーティ、日本ブルーグラ なお、宿泊(バンガローや民宿)をご希望の方は直接、 ス年表⑰「1964-65 年」、中西孝仁の IBMA2007 リポー 三田アスレチックにお問い合わせください。 トほか、日米ブルーグラス情報満載。 ちなみに、夏フェスは7月 31 日から8月3日!! ▼今月、またまたすごい天才マンドリン少女が全米デ 今年の IBMA・WOB ツアー ビュー。すでに米国では数年前から大きな話題となり、 今年もナッシュビルのダウンタウンど真ん中、高層 ラウンダーが 13 歳で契約、3年の時間をかけ、満を持し ホ テルを中心に開かれる IBMA ワールド・オブ・ブルー てのデビューです。そのシエラ・ハル、今年7月に来日 グラス(WOB)へのツアーがあります。基本は 9 月 29 が決まりました。 日出発 10 月 6 日帰国で準備中、また WOB 期間全参加 IBMA(国際ブルーグラス音楽協会)の肝いりで、ケン やその前後のご相談もお受けしています。お気軽にお タッキーとウエスト・バージニア、そしてテネシーから 問い合わせください。なお、8月 29 日が応 募締め切 高校生のブルーグラス3バンド、総勢 16 名のブルーグラ りです。 ス・キッズのリーダー格として埼玉県の川口総合文化セ ンターの国際交流フェスに参加することになりました。 今月の新入荷注目作品 また交流フェス期間のホームステイの後、米国から現在 ROU-0601 SIERRA HULL『Secret』 の正式メンバーを呼び寄せ、シエラ・ハル&ハイウェイ CD¥2,573-(本体 ¥2,450-) 111 として7月 29 日から 10 日間、全国をツアーします。 満を持して発表した 16 歳の天才マンドリン少女、シ 彼女ら自身も、IBMA も、そして日本の受け入れ側も、 エラ・ハルの全米デビュー作。7月来日だぞ!! まっ 全国ツアーにボランティアとして協力し、現在もっとも すぐなブルーグラスと信じ難いテク、物凄い作品、… 旬なアーティストを見ていただこうという趣旨です。全 驚きますよ。ブルーグラス新入荷参照。 国のブルーグラス/オールドタイム/カントリー・ファ RHY-325 MASHVILLE BRIGADE ンの皆さん、間違いなく近い将来、とんでもない大物に -
AFM Course Curriculum
AMERICAN FIDDLE METHOD COURSE Curriculum Index GETTING READY Lesson 1 Introduction to AFM Lesson 2 Gear you need Lesson 3 Parts of a fiddle Lesson 4 Parts of a bow Lesson 5 Checking your fiddle’s setup Lesson 6 Checking your bow’s setup Lesson 7 Care of your instrument Lesson 8 Fitting a shoulder rest Lesson 9 Rosining the bow Lesson 10 Tuning using the pegs Lesson 11 Tuning using the fine tuners Lesson 12 Applying tapes to the fingerboard Lesson 13 Names of the notes STRATEGIES FOR SUCCESS Lesson 1 Three lists Lesson 2 Anatomy of a fiddle tune Lesson 3 Learning by ear Lesson 4 Small Overlapping Phases –SOPS Lesson 5 Muscle memory Lesson 6 Using a metronome LEVEL I Violin Position Lesson 1 Natural body position Lesson 2 Positioning the fiddle Lesson 3 Position of the left arm and hand st Lesson 4 Thumb and “Mirror 1 Finger” Beginning Bowing Lesson 5 Holding the bow Lesson 6 Principles of bowing Lesson 7 Bowing continuums Lesson 8 Diagnosing your tone Lesson 9 Bowing string changes Lesson 10 Beginning rhythms Beginning Fingering Lesson 11 A string – 1st finger Lesson 12 A string – 2nd finger Lesson 13 A string – 3rd finger Lesson 14 A string – three fingers Lesson 15 A string – practice Lesson 16 D string – three fingers Lesson 17 D string – practice Lesson 18 G string – three fingers Lesson 19 G string – practice Lesson 20 E string – three fingers Lesson 21 E string – practice Scales Lesson 22 How to play in tune Lesson 23 D Scale Lesson 24 G Scale Lesson 25 A Scale Lesson 26 Twinkle –key of D Lesson 27 Twinkle –key of A Lesson 28 Twinkle –key of -
Guitar Week, July 24-30, 2016 7:30- 8:30 Breakfast
JULY 3 - AUGUST 6, 2016 AT WARREN WILSON COLLEGE, ASHEVILLE, NC The Swannanoa Gathering Warren Wilson College, PO Box 9000, Asheville, NC 28815-9000 phone/fax: (828) 298-3434 email: [email protected] • website: www.swangathering.com shipping address: The Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778 For college admission information contact: [email protected] or 1-800-934-3536 WARREN WILSON COLLEGE CLASS INFORMATION President Dr. Steven L. Solnick The workshops take place at various sites around the Warren Wilson Vice President and Dean of the College Dr. Paula Garrett campus and environs, (contact: [email protected] or 1-800-934-3536 Vice President for Administration and Finance Stephanie Owens for college admission information) including classrooms, Kittredge Theatre, our Vice President of Advancement K. Johnson Bowles Bryson Gym dancehall and campus Pavilion, the campus gardens and patios, Vice President for Enrollment and Marketing Janelle Holmboe Dean of Student Life Paul Perrine and our own jam session tents. Each year we offer over 150 classes. Students are Dean of Service Learning Cathy Kramer free to create their own curriculum from any of the classes in any programs offered Dean of Work Ian Robertson for each week. Students may list a class choice and an alternate for each of our scheduled class periods, but concentration on two, or perhaps three classes is THE SWANNANOA GATHERING strongly recommended, and class selections are required for registration. We ask that you be thoughtful in making your selections, since we will consider Director Jim Magill them to be binding choices for which we will reserve you space. -
American Folk Music and Folklore Recordings 1985: a Selected List
DOCUMENT RESUME ED 277 618 SO 017 762 TITLE American Folk Music and Folklore Recordings 1985: A Selected List. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. PUB DATE 86 NOTE 17p.; For the recordings lists for 1984 and 1983, see ED 271 353-354. Photographs may not reproduce clearly. AVAILABLE FROM Selected List, American Folklife Center, Library of Congress, Washington, DC 20540. PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Annotated Bibliographies; *Black Culture; *Folk Culture; *Jazz; *Modernism; *Music; Popular Culture ABSTRACT Thirty outstanding records and tapes of traditional music and folklore which were released in 1985 are described in this illustrated booklet. All of these recordings are annotated with liner notes or accompanying booklets relating the recordings to the performers, their communities, genres, styles, or other pertinent information. The items are conveniently available in the United States and emphasize "root traditions" over popular adaptations of traditional materials. Also included is information about sources for folk records and tapes, publications which list and review traditional music recordings, and relevant Library of Congress Catalog card numbers. (BZ) U.111. DEPARTMENT OF EDUCATION Office or Educao onal Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document hes been reproduced u received from the person or o•panizahon originating it Minor changes nave been made to improve reproduction ought) Points of view or opinions stated in this docu mint do not necessarily represent Olhcrai OERI posrtio.r or policy AMERICAN FOLK MUSIC AND FOLKLORE RECORDINGS 1985 A SELECTED LIST Selection Panel Thomas A. Adler University of Kentucky; Record Review Editor, Western Folklore Ethel Raim Director, Ethnic Folk Arts Center Don L. -
San Pedro Sing
THE SOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING JULY - AUGUST &2007 OTHER RELATED FOLK ARTSFolkWorks IN THE GREATER LOS ANGELES AREA Page FREE BI-MONTHLY Volume 7 Number 4 July-August 2007 New World Flamenco Festival La Flor de la Vida, August 10-19 See page 3 INSIDE THIS ISSUE FREE SUMMER CONCERT LISTINGS HAWAIIAN FESTIVALS SEA SHANTIES PLUS... KEYS TO THE HIGHWAY ..that reminds me... ...and More!... cover photo: PHOTO OF JUAN OGALLA BY MIGUEL ANDY MOGG Page 2 FolkWorks JULY - AUGUST 2007 EDITORIAL his July/August issue in your musician teaching listings, etc. Be hands lists a plethora of sum- sure to look at the website and Yahoo PUBLISHERS & EDITORS Tmer concerts. Look at page 3 Group for announcements. We plan to Leda & Steve Shapiro for this summer’s offerings at the Skir- continue our ongoing columns about LAYOUT & PRODUCTION ball, Culver City, Japan American Mu- Music Theory, Old Time Music, Events Alan Stone Creative Services seum, Grand Performances, the Santa Around Town and all the other regular FEATURED WRITERS Monica Pier and the Levitt Pavillion. columnists you love. In fact now you Ross Altman, How Can I Keep From Talking At this time each year, we search will be able to read them online and David Bragger, Old-Time Oracle through the listings and mark in our not have to worry about finding that Valerie Cooley, ...that reminds me... calendar all the wonderful concerts old newspaper article. There is a good Linda Dewar, Grace Notes Roger Goodman, Keys to the Highway we plan on attending. We want here search engine on the site and you can David King, Dirt to thank all the producers who spend find what you want. -
Jim Shumate and the Development of Bluegrass Fiddling
JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2018 Center for Appalachian Studies JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER May 2018 APPROVED BY: Sandra L. Ballard Chairperson, Thesis Committee Gary R. Boye Member, Thesis Committee David H. Wood Member, Thesis Committee William R. Schumann Director, Center for Appalachian Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Natalya Weinstein Miller 2018 All Rights Reserved Abstract JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING Natalya Weinstein Miller, B.A., University of Massachusetts M.A., Appalachian State University Chairperson: Sandra L. Ballard Born and raised on Chestnut Mountain in Wilkes County, North Carolina, James “Jim” Shumate (1921-2013) was a pioneering bluegrass fiddler. His position at the inception of bluegrass places him as a significant yet understudied musician. Shumate was a stylistic co-creator of bluegrass fiddling, synthesizing a variety of existing styles into the developing genre during his time performing with some of the top names in bluegrass in the 1940s, including Bill Monroe in 1945 and Lester Flatt & Earl Scruggs in 1948. While the "big bang" of bluegrass is considered to be in 1946, many elements of the bluegrass fiddle style were present in Bill Monroe's Blue Grass Boys prior to 1945. Jim Shumate’s innovative playing demonstrated characteristics of this emerging style, such as sliding double-stops (fingering notes on two strings at once) and syncopated, bluesy runs. -
Jemf Quarterly
JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL. XII SPRING 1976 No. 41 THE JEMF The John Edwards Memorial Foundation is an archive and research center located in the Folklore and Mythology Center of the University of California at Los Angeles. It is chartered as an educational non-profit corporation, supported by gifts and contributions. The purpose of the JEMF is to further the serious study and public recognition of those forms of American folk music disseminated by commercial media such as print, sound recordings, films, radio, and television. These forms include the music referred to as cowboy, western, country & western, old time, hillbilly, bluegrass, mountain, country ,cajun, sacred, gospel, race, blues, rhythm' and blues, soul, and folk rock. The Foundation works toward this goal by: gathering and cataloguing phonograph records, sheet music, song books, photographs, biographical and discographical information, and scholarly works, as well as related artifacts; compiling, publishing, and distributing bibliographical, biographical, discographical, and historical data; reprinting, with permission, pertinent articles originally appearing in books and journals; and reissuing historically significant out-of-print sound recordings. The Friends of the JEMF was organized as a voluntary non-profit association to enable persons to support the Foundation's work. Membership in the Friends is $8.50 (or more) per calendar year; this fee qualifies as a tax deduction. Gifts and contributions to the Foundation qualify as tax deductions. DIRECTORS ADVISORS Eugene W. Earle, President Archie Green, 1st Vice President Ry Cooder Fred Hoeptner, 2nd Vice President David Crisp Ken Griffis, Secretary Harlan Dani'el D. K. Wilgus, Treasurer David Evans John Hammond Wayland D. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time. -
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Fiddlin’ Around The Official Newsletter of the Utah Old Time Fiddlers Officers: Inside this Edition President....................................... Jarl K. Jacobson Upcoming Contests .............................................. 2 Vice President ...................................Dennis Larkin Christmas Parties and Recent Gatherings ............. 4 Secretary ............................................ Diane House Announcements .................................................... 5 Treasurer .......................................Linda Lindstrom In Memory of Les ................................................ 5 Past President ................................. Sherry Adderly In Memory of Irene .............................................. 6 Membership ........................................June Crosby Tunes Played by the Utah Old Time Fiddlers ....... 7 Newsletter ..................................... Shelley Gardner Future Submissions ............................................... 8 Financial Advisor .................................. Jack House Apple Cider Polka ............................................... 9 Chapter Chairs Dixie ............................................... Ralph Peterson Fish Lake....................................... Rosemary Price Pahvant .......................................... Norman Mincer Pioneer ...........................................Doug Anderson Salt Lake ...........................................Lynn Brighton Utah County ...........................................Don Davis Contributing Authors -
Representation of African American Music: the Role of the Fiddle
Journal of the Society for American Music (2016), Volume 10, Number 1, pp. 1–32. C The Society for American Music 2016 doi:10.1017/S1752196315000528 The (Mis)Representation of African American Music: The Role of the Fiddle JACQUELINE COGDELL DJEDJE Abstract During the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on print or sound materials for analyses. Because rural black musicians who performed secular music rarely had an opportunity to record and few print data were available, sources were lacking. Thus, much of what we know about twentieth-century black secular music is based on styles created and performed by African Americans living in urban areas. And it is these styles that are often represented as the musical creations for all black people, in spite of the fact that other traditions were preferred and performed. This article explores how the (mis)representation of African American music has affected our understanding of black music generally and the development of black fiddling specifically. Although music