DOCSLIB.ORG

Fiddle Grade 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fiddle Grade 1 © 2007 RSAMD FIDDLE GRADE 1 1. PERFORMANCE: you have a maximum of 4 ½ minutes to play: One air: Title Composer Time- Type Source Sig A1 Am Falbh Thu Leam, a Ribhinn Òg? (Tiree Traditional 3/4 Waltz Ref 2 Bridal Song) A2 Ye Banks and Braes Traditional 3/4 Waltz Ref 2 A3 Maighdeanan na h-àiridh (The Shieling Traditional 3/4 Air Ref 9 Maids) A4 The Nameless Lassie Alex. 4/4 Air Ref 9 MacKenzie A5 The Green Hills of Islay Traditional 3/4 Waltz Ref 2 A6 The Rowan Tree Lady Nairne 4/4 Air Ref 2 (Traditional) One dance tune: Title Composer Time-Sig Type Source B1 The Bonnie Lass o’ Fyvie Traditional 4/4 March Ref 1 B2 Angus MacLeod Andrew 2/4 March Ref 2 Rankine B3 The Cock o’ the North Traditional 6/8 Jig Ref 1 B4 John McAlpin Traditional 4/4 Strathspey Ref 5 B5 Reel of Tullochgorum Traditional 4/4 Reel Ref 2 B6 Da Mirrie Boys of Greenland Traditional 4/4 Reel Ref 1 One recently-composed tune: Title Composer Time- Type Source Sig C1 Fethaland Tom 3/4 Waltz Ref 22 Anderson C2 Ness Bothan Fergie 6/8 Jig Ref 9 MacDonald C3 The Hopeful Lover Bobby 4/4 Reel Ref 5 MacLeod C4 The Osprey in the Bay Adrian 4/4 Reel Ref 14 Ledingham C5 Mosstodloch Memories J. Alexander 3/4 Waltz Ref 19 2. TECHNICAL WORK: played from memory from among the following keys and ranges: A, D, G majors (one octave) Any standard fingering is acceptable. Scales: ascending and descending, with separate bows or two quavers slurred to a bow, as in: Arpeggios: ascending and descending, with separate bows, as in: © 2007 RSAMD The examiner will request only as many of the above items as needed to form a firm opinion of your ability. 3. QUICK STUDY: Perform EITHER at sight or by ear, at your choice, a short passage in air or waltz time. For example: The piece will be in one of the keys covered by the scale requirements at this grade. 4. PRACTICAL AND AURAL MUSICIANSHIP FOR THE GRADE © 2007 RSAMD GRADE 2 1. PERFORMANCE: you have a maximum of 6 minutes to play two stand-alone tunes and one set of two tunes chosen from the following categories. At least one tune from each category must be played. Airs: Title Composer Time-Sig Type Source A1 The Duchess Tree J Scott Skinner 4/4 Air Ref 2 A2 The Cradle Song J Scott Skinner 3/4 Air Ref 7 A3 Sìne Bhàn Traditional 3/4 Air Ref 6 A4 Fear a’ Bhàta (The Boatman) Traditional 3/4 Air Ref 7 A5 Eilean Beag Donn a’ Chuain (The Little Donald 6/8 Air Ref 20 Brown Sea Isle) Morrison A6 The Hills of Lorne C Hunter 4/4 Air Ref 1 Dance tunes: Title Composer Time- Type Source Sig B1 The Barren Rocks of Aden Traditional 2/4 March Ref 7 B2 Caledonian March Traditional 4/4 March Ref 4 B3 Lady Madelina Sinclair Wm 4/4 Strathspey Ref 1 Marshall B4 ‘S ann an Ile (In Islay) Traditional 2/4 Strathspey Ref 3 B5 Loudon’s Bonnie Woods and Braes Traditional 4/4 Strathspey Ref 6 B6 Da Ferry Reel Traditional 4/4 Reel Ref 12 B7 Skye Dance Traditional 4/4 Reel Ref 9 B8 Mrs MacLeod of Raasay Angus 4/4 Reel Ref 1 MacKay B9 Lamb Skinnet Traditional 6/8 Jig Ref 1 B10 The Hundred Pipers Traditional 6/8 Jig Ref 3 Recently –composed tunes: Title Composer Time-Sig Type Source C1 Da Slockit Light Tom Anderson 4/4 Air Ref 5 C2 The Dark Island Iain 3/4 Waltz Ref 6 McLaughlin C3 Peter’s Peerie Boat Tom Anderson 6/8 Jig Ref 1 C4 Walking on the Moon Addie Harper 4/4 Reel Ref 8 C5 Flett from Flotta Donald 4/4 March Ref 8 MacLeod C6 Margaret’s Waltz Pat Shuldham 3/4 Waltz Ref 8 Shaw 2. TECHNICAL WORK: played from memory from among the following keys and ranges: A, G majors (two octaves) D major; A, E minors (one octave) Any standard fingering is acceptable. Scales: ascending and descending, with separate bows or two quavers slurred to a bow, as in: © 2007 RSAMD Arpeggios: ascending and descending, with separate bows or three notes slurred to a bow (in the case of two octaves), as in: Scales and/or arpeggios in a minor key may be played in the natural, melodic or harmonic minor, at the candidate’s choice. The examiner will request only as many of the above items as needed to form a firm opinion of your ability. 3. QUICK STUDY: Perform EITHER at sight or by ear, at your choice, a short passage in air, waltz or march time. For example: The piece will be in one of the keys covered by the scale requirements up to and including this grade. 4. PRACTICAL AND AURAL MUSICIANSHIP FOR THE GRADE © 2007 RSAMD GRADE 3 1. PERFORMANCE: you have a maximum of 6 minutes to play two stand-alone tunes and one set of two tunes chosen from the following categories. At least one tune from each category must be played. Airs: Title Composer Time-Sig Type Source A1 The Music o’ Spey J Scott 4/4 Air Ref 1 Skinner A2 Niel Gow’s Farewell to Whisky Neil Gow 4/4 Air Ref 1 A3 The Arran Boat Song Traditional 6/8 Air Ref 6 A4 Chì Mi na Mór-Bheanna (The Mist-Covered Traditional 3/4 Air Ref 6 Mountains) A5 The Flower of the Quern J Scott 4/4 Air Ref 1 Skinner A6 Mrs Jamieson’s Favourite C Grant 6/8 Air Ref 1 A7 Miss Rowan Davies Phil 3/4 Air Ref 4 Cunningham A8 The Auld Noost Ronald 4/4 Air Ref 23 Jamieson Dance tunes: Title Composer Time-Sig Type Source B1 Dr Morison’s Seven Thistles J Scott 4/4 March Ref 9 Skinner B2 The Duke of Gordon’s Birthday Wm 4/4 Strathspey Ref 1 Marshall B3 Belladrum House Traditional 4/4 Strathspey Ref 1 B4 Hurlock’s Reel Tom 4/4 Reel Ref 13 Anderson B5 Flowers of Edinburgh Traditional 2/4 Reel Ref 1 B6 Willafjord Traditional 4/4 Reel Ref 11 B7 Drummond Castle Traditional 6/8 Jig Ref 1 B8 The Muckin’ of Geordie’s Byre Traditional 6/8 Jig Ref 6 B9 Banks of the Allan Traditional 6/8 Jig Ref 12 B10 Harvest Home Traditional 2/4 Hornpipe Ref 1 Recently-composed tunes: Title Composer Time-Sig Type Source C1 The Hut on Staffin Island Phil 4/4 March Ref 4 Cunningham C2 The Headlands Ronnie 2/4 March Ref 7 Cooper C3 The Barrowburn Reel Addie Harper 4/4 Reel Ref 9 C4 Da Auld Restin’ Chair Tom 4/4 Air Ref 13 Anderson C5 Scarce o’ Tatties Norman 6/8 March Ref 11 MacLean C6 Stewart and Kathleen Walker Jim Johnstone 4/4 Strathspey Ref 15 C7 Davie’s Brae Jim Johnstone 6/8 Jig Ref 15 C8 Marni Swanson of the Grey Coast Andy 6/4 Air Ref 14 Thorburn 2. TECHNICAL WORK: played from memory from among the following keys and ranges, subject to the capabilities of the candidate’s instrument: © 2007 RSAMD A, D, G majors; A minor (two octaves) C, F majors; B, D minors (one octave) Any standard fingering is acceptable. Scales: ascending and descending, with separate bows or two quavers slurred to a bow, as in Grade 2. Arpeggios: ascending and descending, with separate bows or three notes slurred to a bow ( in the case of two octaves), as in Grade 2. Scales and/or arpeggios in a minor key may be played in the natural, melodic or harmonic minor, at the candidate’s choice. The examiner will request only as many of the above items as needed to form a firm opinion of your ability. 3. QUICK STUDY: Perform EITHER at sight or by ear, at your choice, a short passage in waltz, march or jig time. For example: The piece will be in one of the keys covered by the scale requirements up to and including this grade. 4. PRACTICAL AND AURAL MUSICIANSHIP FOR THE GRADE © 2007 RSAMD GRADE 4 1. PERFORMANCE: you have a maximum of 9 minutes to play two stand-alone tunes and one set of three tunes chosen from the following categories. At least one tune from each category must be played. Airs: Title Composer Time-Sig Type Source A1 Niel Gow’s Lament for James Moray of Niel Gow 4/4 Air Ref 1 Abercairney A2 Farewell to Nigg Duncan 6/4 Air Ref 20 Johnstone A3 Ròs Fhiadhaich nam Beann (The Wild Rose of John Mason 6/8 Air Ref 6 the Mountain) A4 Coilsfield House Nath. Gow 4/4 Air Ref 1 A5 Rose Acre J Scott Skinner 4/4 Air Ref 1 A6 Margaret Ann Robertson Frank Jamieson 3/4 Air Ref 1 A7 Marquis of Huntly’s Snuff Mill Wm Marshall 4/4 Air Ref 1 A8 MacCrimmon’s Lament Traditional 6/8 Air Ref 18 Dance tunes: Title Composer Time- Type Source Sig B1 Father John MacMillan of Barra Norman 2/4 March Ref 6 MacDonald B2 Da Guisers March G Stove 4/4 March Ref 1 B3 Scott Skinner’s Compliments to Dr J Scott Skinner 4/4 March Ref 1 MacDonald B4 The Iron Man J Scott Skinner 4/4 Strathspey Ref 9 B5 Stirling Castle C Bannatyne 4/4 Strathspey Ref 1 B6 Banks of the Spey Wm Marshall 4/4 Strathspey Ref 4 B7 Marquis of Tullibardine John Crerar 4/4 Reel Ref 1 B8 Donald MacLeod’s Reel Traditional 4/4 Reel Ref 9 B9 The Brolum C Bannatyne 4/4 Reel Ref 17 B10 Rory MacLeod D MacLeod 6/8 Jig Ref 17 B11 Jig of Slurs GS MacLennan 6/8 Jig Ref 17 B12 Crossing the Minch D MacLeod 4/4 Hornpipe Ref 6 Recently-composed tunes: Title Composer Time-Sig Type Source C1 Leaving Stoer Ivan Drever 4/4 Air Ref 17 C2 Bert MacKenzie’s 70th Birthday Waltz Louise 3/4 Waltz Ref 17 MacKenzie C3 Calum Donaldson Ronnie Cooper 4/4 Reel Ref 11 C4 Miss Susan Cooper Ronnie Cooper 4/4 Reel Ref 11 C5 The Spoot o’ Skerry Samual IR Burns 4/4 Reel Ref 12 C6 John Roy Lyall E.
Load more

Recommended publications
  • Types of Dance Styles
    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
    [Show full text]
  • Another One Hundred Tunes” Published October 25, 2013
    O’Flaherty Irish Music Retreat “Another One Hundred Tunes” Published October 25, 2013 We decided to issue a third tunebook in celebration of the tenth year of the O’Flaherty Irish Music Retreat. It is hard to believe that a decade has passed since we held our first event at the Springhill Retreat Center in Richardson, Texas back in October of 2004. None of us who organized that first event had any indication that it would grow as it has. What started as a small local music camp has given rise to a well-respected international camp attracting participants from near and far. We have been successful over the years because of two primary factors – good teachers and good learners. Fortunately, we have never had a shortage of either so we have not only survived, but have expanded greatly in both scope and size since our founding. There is one other factor of our success that is important to remember – the music itself. Traditional Irish music is unlike any music I’ve known. On one hand, I have seldom encountered music more difficult to master. Playing “authentically” is the goal but that goal can take years if not a lifetime of listening, practicing and playing. On the other hand, the music by its nature is so accessible that it permits players to engage in it at any level of ability. It is not uncommon for experienced players to encourage novices and help establish a connection with this remarkable music tradition. That connection is the essence of what we try to do at our retreat – pass on the music as musicians have done in Ireland for centuries.
    [Show full text]
  • Bizourka and Freestyle Flemish Mazurka
    118 Bizourka and Freestyle Flemish Mazurka (Flanders, Belgium, Northern France) These are easy-going Flemish mazurka (also spelled mazourka) variations which Richard learned while attending a Carnaval ball near Dunkerque, northern France, in 2009. Participants at the ball were mostly locals, but also included dancers from Belgium and various parts of France. Older Flemish mazurka is usually comprised of combina- tions of the Mazurka Step and Waltz, in various simple patterns (see Freestyle Flemish Mazurka below). Like most folk mazurkas, their style descended from the Polka Mazurka once done in European ballrooms, over 150 years ago. This folk process is sometimes compared to a bridge. French or English dance masters picked up an ethnic dance step, in this case a mazurka step from the Polish Mazur, and standardized it for ballroom use. It was then spread throughout the world by itinerant dance teachers, visiting social dancers, and thousands of easily available dance manuals. From this propagation, the most popular steps (the Polka Mazurka was indeed one of the favorites) then “sank” through many simplified forms in villages throughout Europe, the Americas, Australia and elsewhere. In other words, towns in rural France or England didn’t get their mazurka step directly from Poland, or their polka directly from Bohemia, but rather through the “bridge” of dance teachers, traveling social dancers and books, that spread the ballroom versions of the original ethnic steps throughout the world. Once the steps left the formal setting of the ballroom, they quickly simplified. Then folk dances evolve. Typically steps and styles are borrowed from other dance forms that the dancers also happen to know, adding a twist to a traditional form.
    [Show full text]
  • The Haybaler's
    The Haybaler’s Jig An 11 x 32 bar jig for 4 couples in a square. Composed 4 June 2013 by Stanford Ceili. Mixer variant of Haymaker’s Jig. (24) Ring Into The Center, Pass Through, Set. (4) Ring Into The Center. (4) Pass through (pass opposite by Right shoulders).1 (4) Set twice. (12) Repeat.2 (32) Corners Dance. (4) 1st corners turn by Right elbow. (4) 2nd corners repeat. (4) 1st corners turn by Left elbow. (4) 2nd corners repeat. (8) 1st corners swing (“long swing”). (8) 2nd corners repeat. (16) Reel The Set. Note: dancers always turn people of the opposite gender in this figure. (4) #1 couple turn once and a half by Right elbow. (2) Turn top side-couple dancers by Left elbow once around. (2) Turn partner in center by Right elbow once and a half. (2) Repeat with next side-couple dancer. (2) Repeat with partner. (2) Repeat with #2 couple dancer. (2) Repeat with partner. (2) #1 Couple To The Top. 1Based on the “Drawers” figure from the Russian Mazurka Quadrille. All pass their opposites by Right shoulder to opposite’s position. Ladies dance quickly at first, to pass their corners; then men dance quickly, to pass their contra-corners. 2Pass again by Right shoulders, with ladies passing the first man and then allowing the second man to pass her. This time, ladies pass their contra-corners, and are passed by their corners. (14) Cast Off, Arch, Turn. (12) Cast off and arch. #1 couple casts off at the top, each on own side.
    [Show full text]
  • Northmavine the Laird’S Room at the Tangwick Haa Museum Tom Anderson
    Northmavine The Laird’s room at the Tangwick Haa Museum Tom Anderson Tangwick Haa All aspects of life in Northmavine over the years are Northmavine The wilds of the North well illustrated in the displays at Tangwick Haa Museum at Eshaness. The Haa was built in the late 17th century for the Cheyne family, lairds of the Tangwick Estate and elsewhere in Shetland. Some Useful Information Johnnie Notions Accommodation: VisitShetland, Lerwick, John Williamson of Hamnavoe, known as Tel:01595 693434 Johnnie Notions for his inventive mind, was one of Braewick Caravan Park, Northmavine’s great characters. Though uneducated, Eshaness, Tel 01806 503345 he designed his own inoculation against smallpox, Neighbourhood saving thousands of local people from this 18th Information Point: Tangwick Haa Museum, Eshaness century scourge of Shetland, without losing a single Shops: Hillswick, Ollaberry patient. Fuel: Ollaberry Public Toilets: Hillswick, Ollaberry, Eshaness Tom Anderson Places to Eat: Hillswick, Eshaness Another famous son of Northmavine was Dr Tom Post Offices: Hillswick, Ollaberry Anderson MBE. A prolific composer of fiddle tunes Public Telephones: Sullom, Ollaberry, Leon, and a superb player, he is perhaps best remembered North Roe, Hillswick, Urafirth, for his work in teaching young fiddlers and for his role Eshaness in preserving Shetland’s musical heritage. He was Churches: Sullom, Hillswick, North Roe, awarded an honorary doctorate from Stirling Ollaberry University for his efforts in this field. Doctor: Hillswick, Tel: 01806 503277 Police Station: Brae, Tel: 01806 522381 The camping böd which now stands where Johnnie Notions once lived Contents copyright protected - please contact Shetland Amenity Trust for details. Whilst every effort has been made to ensure the contents are accurate, the funding partners do not accept responsibility for any errors in this leaflet.
    [Show full text]
  • 5 October 2020 NCC Minutes
    NORTHMAVEN COMMUNITY COUNCIL Chair: David Brown Clerk: NCDC Services Crogreen C/o Ollaberry Hall Ollaberry Ollaberry Tele: 01806 544374 ZE2 9RT Telephone: 01806 544222 E-mail: [email protected] Minute of Ordinary Meeting of the Council on Monday 5th October 2020 REMOTE MEETING using Zoom This minute is UNAPPROVED until adopted at the next meeting Present: CCllr D Brown CCllr K Williamson CCllr B Wilcock CCllr R Doull 1. Apologies Submitted: CCllr E Robertson Ex Officio Present: CCllr K Scollay Cllr E Macdonald CCllr J A Cromarty Ex Officio Apologies CCllr D Robertson Mr M Duncan – SIC Community Worker In attendance: Ms C Sutherland – Clerk Ms A Arnett – SIC Community Worker The meeting started at: 8pm, CCllr D Brown in the Chair. Agenda Item Narrative 2. Declaration of None interest 3. Approval Of The minute of the meeting held remotely via Zoom on Monday 7th Previous Minute September 2020 approved: CCllr K Williamson, seconded: CCllr B Wilcock. 4. Police report No report. Action – Clerk to contact police Scotland for report 5. Matters arising Broadband Mr Lamont informed members that once they have the access agreement formalised they should be able to gain access to site in North Roe, during the month of October. Cllr E Macdonald informed members that the Shetland Islands Council is commissioning a scoping exercise to inform a strategic plan for local connectivity which includes evaluation of the requirements to roll out superfast connectivity to those areas of Shetland which do not currently benefit from adequate modern data connections. Collafirth Hill Road Nothing further. 1 Eshaness Development Nothing further.
    [Show full text]
  • Layout 1 Copy
    STACK ROCK 2020 An illustrated guide to sea stack climbing in the UK & Ireland - Old Harry - - Old Man of Stoer - - Am Buachaille - - The Maiden - - The Old Man of Hoy - - over 200 more - Edition I - version 1 - 13th March 1994. Web Edition - version 1 - December 1996. Web Edition - version 2 - January 1998. Edition 2 - version 3 - January 2002. Edition 3 - version 1 - May 2019. Edition 4 - version 1 - January 2020. Compiler Chris Mellor, 4 Barnfield Avenue, Shirley, Croydon, Surrey, CR0 8SE. Tel: 0208 662 1176 – E-mail: [email protected]. Send in amendments, corrections and queries by e-mail. ISBN - 1-899098-05-4 Acknowledgements Denis Crampton for enduring several discussions in which the concept of this book was developed. Also Duncan Hornby for information on Dorset’s Old Harry stacks and Mick Fowler for much help with some of his southern and northern stack attacks. Mike Vetterlein contributed indirectly as have Rick Cummins of Rock Addiction, Rab Anderson and Bruce Kerr. Andy Long from Lerwick, Shetland. has contributed directly with a lot of the hard information about Shetland. Thanks are also due to Margaret of the Alpine Club library for assistance in looking up old journals. In late 1996 Ben Linton, Ed Lynch-Bell and Ian Brodrick undertook the mammoth scanning and OCR exercise needed to transfer the paper text back into computer form after the original electronic version was lost in a disk crash. This was done in order to create a world-wide web version of the guide. Mike Caine of the Manx Fell and Rock Club then helped with route information from his Manx climbing web site.
    [Show full text]
  • Scottish and Irish Elements of Appalachian Fiddle Music
    Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf ­ _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.>­ Date / / - ­ ( /'--/-----­ --",,-..-­ Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'-­ ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---.
    [Show full text]
  • Theory of International Politics
    Theory of International Politics KENNETH N. WALTZ University of Califo rnia, Berkeley .A yy Addison-Wesley Publishing Company Reading, Massachusetts Menlo Park, California London • Amsterdam Don Mills, Ontario • Sydney Preface This book is in the Addison-Wesley Series in Political Science Theory is fundamental to science, and theories are rooted in ideas. The National Science Foundation was willing to bet on an idea before it could be well explained. The following pages, I hope, justify the Foundation's judgment. Other institu­ tions helped me along the endless road to theory. In recent years the Institute of International Studies and the Committee on Research at the University of Califor­ nia, Berkeley, helped finance my work, as the Center for International Affairs at Harvard did earlier. Fellowships from the Guggenheim Foundation and from the Institute for the Study of World Politics enabled me to complete a draft of the manuscript and also to relate problems of international-political theory to wider issues in the philosophy of science. For the latter purpose, the philosophy depart­ ment of the London School of Economics provided an exciting and friendly envi­ ronment. Robert Jervis and John Ruggie read my next-to-last draft with care and in­ sight that would amaze anyone unacquainted with their critical talents. Robert Art and Glenn Snyder also made telling comments. John Cavanagh collected quantities of preliminary data; Stephen Peterson constructed the TabJes found in the Appendix; Harry Hanson compiled the bibliography, and Nacline Zelinski expertly coped with an unrelenting flow of tapes. Through many discussions, mainly with my wife and with graduate students at Brandeis and Berkeley, a number of the points I make were developed.
    [Show full text]
  • ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action Touching Free Foot Toe at Supp
    ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action touching free foot toe at supp. foot instep. - Line Of Dance, Reverse Line Of Dance, - Other actions; (STAMP, TAP, HEEL, TOE) - Wall, Center Of Hall. (Diagonals) POINT, (Action) POSITIONS: - Action touching free ft. toe in direction indicated. - Open, Left-Open, Closed, Semi-Closed, - Apart,-, Point,-; Together,-, Touch,-; (Std. Intro.) - Butterfly, Sdcar, and Banjo. TWIRL "N". ASSUMED POSITION: - Man Fwd "n", Lady Twirls Right Face in "n". - In OPEN, if cued to face partner w/o position cue, - Twirl,-,2,-; Apt,-,Pt,-; (Frequent dance ending) - Then assumed position is BUTTERFLY. - In SEMI, if cued to face partner w/o position cue, ******** (HOT TIME MIXER) ******* - Then assumed position is CLOSED. BLENDING: WALK,-, (S) - Graceful transition from one position to another. - A step in line of progression taking 2 beats - In OPEN, blend to SEMI, etc. - Open, Closed, Semi-Closed.... - Other Walking steps; STRUT, STROLL, SWAGGER STARTING FOOTWORK: - WALK "N" - Take "n" walking steps. - Man's Left Foot, Lady's Right Foot. - Lead Foot, Trailing Foot RUN, (Q) - A step in line of progression taking 1 beat FREE FOOT, SUPPORTING FOOT: - RUN "N" - Take "n" running steps. - The foot that has no weight on it is the "Free Foot" - The foot that has weight is the "Supporting Foot". CIRCLE WALK AWAY or TOGETHER "N". - Walk in a circular pattern away/to partner "n" steps. CUEING PRACTICES - Cues are directed to Man's footwork CIRCLE WALK AWAY & TOGETHER;; (SS,SS) - Cues for next series of footwork occur prior to use. - 2 steps away from partner, 2 steps towards partner.
    [Show full text]
  • Traditional Music of Scotland
    Traditional Music of Scotland A Journey to the Musical World of Today Abstract Immigrants from Scotland have been arriving in the States since the early 1600s, bringing with them various aspects of their culture, including music. As different cultures from around Europe and the world mixed with the settled Scots, the music that they played evolved. For my research project, I will investigate the progression of “traditional” Scottish music in the United States, and how it deviates from the progression of the same style of music in Scotland itself, specifically stylistic changes, notational changes, and changes in popular repertoire. I will focus on the relationship of this progression to the interactions of the two countries throughout history. To conduct my research, I will use non-fiction sources on the history of Scottish music, Scottish culture and music in the United States, and Scottish immigration to and interaction with the United States. Beyond material sources, I will contact my former Scottish fiddle teacher, Elke Baker, who conducts extensive study of ethnomusicology relating to Scottish music. In addition, I will gather audio recordings of both Scots and Americans playing “traditional” Scottish music throughout recent history to compare and contrast according to their dates. My background in Scottish music, as well as in other American traditional music styles, will be an aid as well. I will be able to supplement my research with my own collection of music by close examination. To culminate my project, I plan to compose my own piece of Scottish music that incorporates and illustrates the progression of the music from its first landing to the present.
    [Show full text]
  • 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.
    [Show full text]