The Finest in Traditional Irish Music
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Irish Music If You Are a Student, Faculty Member Or Graduate of Wake and Would Like to Play Irish Music This May Be for You
Irish Music If you are a student, faculty member or graduate of Wake and would like to play Irish music this may be for you. Do you know the difference between a slip jig and a slide? What was the historic connection between Captain O’Neill of Chicago and Irish music? Who was Patsy Touhey and was he American or Irish? What are Uilleann pipes? What is sean-nós singing and is there a connection with Irish poetry? For the answers, join this Irish Music association. GOALS: to have a load of fun playing Irish music and in the process: Create a forum for a dynamic musical interaction recognizing and promoting Irish music Provide an opportunity for musicians to study, learn, and play together in the vibrant Irish folk tradition Promote co-operation between outside music/fine arts departments in Winston-Salem Enhance a community awareness of Irish music, song and culture Expose interested music, and other fine arts, students to an international dimension of folk music based on the Irish tradition as a model Explore the vocal and song traditions in Ireland in the English and Gaelic languages Learn about the history of Irish folk music in America HOW THIS WILL BE DONE: Meet every two weeks and play with a Gaelic-speaking piper and whistler from Ireland, define goals, share pieces, develop a repertoire; organize educational and academic demonstrations/projects; hear historic shellac, vinyl and cylinder recordings of famous pipers, fiddlers, and singers. Play more music. WHAT THIS IS: Irish, pure 100%..... to learn not only common dance music forms including double jigs, reels, hornpipes, polkas but also less common tune forms such as sets, mazurkas, song airs and lullabies etc WHAT THIS IS NOT: Respecting our Celtic brethren, this is NOT Celtic, Scottish, Welsh, Breton, Galician or Canadian/Cape Breton music which is already very well represented by some fine players here in North Carolina. -
Routes and Roots FINAL TEXT.Indb
studying culture in context Examining the Irish connection in the southern American fiddle repertoire Paul Wells Excerpted from: Ón gCos go Cluas From Dancing to Listening Fiddle and Dance Studies from around the North Atlantic 5 Edited by Liz Doherty and Fintan Vallely First published in 2019 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN: 978-1-85752-073-6 About the author: Paul F. Wells plays North American and Irish traditional music on fiddle and flute. He is Director Emeritus of the Center for Popular Music (CPM) at Middle Tennessee State University. As first director of CPM, Wells guided every aspect of the Center’s development, including laying the intellectual foundations for its collections and programs, and building the collections. He has published and presented on many aspects of American folk and popular music, with traditional fiddle music always at the core of his work, and is a past- president of the Society for American Music. Copyright © 2019 the Elphinstone Institute and the contributors. While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 32 Examining the Irish connection in the southern American fiddle repertoire PAUL F. -
Traditional Irish Music Presentation
Traditional Irish Music Topics Covered: 1. Traditional Irish Music Instruments 2 Traditional Irish tunes 3. Music notation & Theory Related to Traditional Irish Music Trad Irish Instruments ● Fiddle ● Bodhrán ● Irish Flute ● Button Accordian ● Tin/Penny Whistle ● Guitar ● Uilleann Pipes ● Mandolin ● Harp ● Bouzouki Fiddle ● A fiddle is the same as a violin. For Irish music, it is tuned the same, low to high string: G, D, A, E. ● The medieval fiddle originated in Europe in ● The term “fiddle” is used the 10th century, which when referring to was relatively square traditional or folk music. shaped and held in the ● The fiddle is one of the arms. primarily used instruments for traditional Irish music and has been used for over 200 years in Ireland. Fiddle (cont.) ● The violin in its current form was first created in the early 16th century (early 1500s) in Northern Italy. ● When fiddlers play traditional Irish music, they ornament the music with slides, cuts (upper grace note), taps (lower grace note), rolls, drones (also known as a double stop), accents, staccato and sometimes trills. ● Irish fiddlers tend to make little use of vibrato, except for slow airs and waltzes, which is also used sparingly. Irish Flute ● Flutes have been played in Ireland for over a thousand years. ● There are two types of flutes: Irish flute and classical flute. ● Irish flute is typically used ● This flute originated when playing Irish music. in England by flautist ● Irish flutes are made of wood Charles Nicholson and have a conical bore, for concert players, giving it an airy tone that is but was adapted by softer than classical flute and Irish flautists as tin whistle. -
Irish Bands of the 60S & 70S | Sample Answer
Irish Bands of the 60s & 70s | Sample answer Ceoltóiri Cualann was an Irish group formed by Sean O’Riada in 1961. O’Riada had the idea of forming Ceoltóiri Cualann following the success of a group he had put together to perform music for the play “The Song of the Anvil” in 1960. Ceoltóiri Cualann would be a group to play Irish traditional songs with accompaniment and traditional dance tunes and slow airs. All folk music recorded before that time had been highly orchestrated and done in a classical way. Another aim of O’Riada’s was to revitalise the work of harpist and composer Turlough O’Carolan. Ceoltóiri Cualann was launched during a festival in Dublin in 1960 at an event called Recaireacht an Riadaigh and was an immediate success in Dublin. The group mainly played the music of O’Carolan, sean nós style songs and Irish traditional tunes, and O’Riada introduced the bodhrán as a percussion instrument. Ceoltóiri Cualann had ceased playing with any regularity by 1969 but reunited to record “O’Riada” and “O’Riada Sa Gaiety” that year. “O’Riada Sa Gaiety” was not released until after O’Riada’s death in 1971. The members of Ceoltóiri Cualann, some of whom went on to form “The Chieftains” in 1963 were O’Riada (harpsichord and bodhrán), Martin Fay, John Kelly (both fiddle), Paddy Moloney (uilleann pipes), Michael Turbidy (flute), Sonny Brogan, Éamon de Buitléir (both accordian), Ronnie Mc Shane (bones), Peadar Mercer (bodhrán), Seán Ó Sé (tenor voice) and Darach Ó Cathain (sean nós singer. Some examples of their tunes are “O’ Carolan’s Concerto” and “Planxty Irwin”. -
BBC Music Booklet Celebrating 80 Years of Music.Pdf
Celebrating Years of Music A Serenade to Music “We are the music-makers And we are the dreamers of dreams…” (Arthur William Edgar O’Shaughnessy, Ode) The story of BBC Northern Ireland’s involvement in nurturing and broadcasting local musical talent is still in the making. This exhibition provides a revealing glimpse of work in progress at the BBC’s Community Archive in documenting the programmes and personalities who have brought music in all its different forms to life, and looks at how today’s broadcasters are responding to the musical styles and opportunities of a new century. It celebrates BBC NI’s role in supporting musical diversity and creative excellence and reflects changes in fashion, technology and society across 80 years of local broadcasting. “ Let us celebrate the way we were and the way we live now. Much has been achieved since 2BE’s first faltering (and scarcely heard) musical broadcast in 1924. Innovation has Let us celebrate the ways we will be... been a defining feature of every decade from early radio concerts in regional towns and country halls to the pioneering work of Sean O’Boyle in recording traditional music and Sam Hanna Bell’s 1950s programmes of Belfast’s Let us count the ways to celebrate. street songs.The broadcasts of the BBC Wireless Orchestra and its successors find their contemporary echo in the world-class performances of the Ulster Orchestra and BBC NI’s radio and television schedules continue to Let us celebrate.” reverberate to the diverse sounds of local jazz, traditional and country music, religious services, brass bands, choirs, (Roger McGough - Poems of Celebration) contemporary rock, pop and dance music. -
Cs June 2010.Pdf
ISSN 1352-3848 June 2010 VOLUME 27 NO 1 THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY Jock Agnew and Martin Lowe launch ‘The Wind in the Bellows’ IN THIS ISSUE From the Archive(4): New Tune Book(5): Music Resources(6): John Armstrong’s Sword(7): Tutor Launch(9): Melrose(11): LBPS Annual Competition(13): Stock Imagery(18): Piper Gould(24): Revival or Survival?(26): Event Reports(35): Nate Banton Interview(41): Coming Events(48): Reviews(51): Back Lill(55) 1 President Julian Goodacre Minute Sec. Jeannie Campbell Chairman: Jim Buchanan Newsletter Helen Ross Treasurer Iain Wells Membership Pete Stewart Secretary Judy Barker Editor CS Pete Stewart THE JOURNAL OF THE LOWLAND AND BORDER PIPERS’ SOCIETY EDITORIAL ol 25 no 1 is the 47th issue of some from far-flung parts of the world; Common Stock [issues were there were lowland pipers in America, in V rather erratic in the early years], Australia, in Germany and the Nether- but it is the first I have supervised as lands, in India and in Oman, it seemed, editor. It is extraordinary to find that I and they were all keen to become part of am only the third person to hold this this new organization and share their privileged position. It is indeed a privi- enthusiasm. lege to take over a publication which has And because they did, I am now given recorded the trajectory of bellows piping the honour of editing the journal they from the days nearly thirty years ago first produced in Dec 1983. when various enthusiasts around the This revisiting of the early days has world began to discover that they were been largely the result of the work that not alone in their interest and that there has been done recently on preparing the was demand for an organization which Society’s records for deposit in the Na- would represent it. -
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 _ -- -"-".,---. -
An Cruitire 2015
An CRUITIRE Vol. 2 No. 1 Nollaig / December 2015 Contents 3……Cairde na Cruite Events 15……O’Carolan Harp Festival, Nobber 3……An Chúirt Chruitireachta 16……Monaco World Harp Festival 6……Cairde na Cruite’s Spring Concert 18……Muckross Harp Trail 7……Cairde na Cruite’s Christmas Concert 20……Harp Days in Denmark 8……Harpers Meeting National Gallery of Ireland 21……Harp 2015: 15 Memorable Moments 10….News and Events 22……New Albums & Reviews 12….1916 Centenary Celebrations 24……Notices 13….New Publications 25……Castle Fogarty and the O’Ffogerty harp 14….Yeats 150: Harp Festival of Moons 28……An Chúirt Chruitireachta 2016 The cover photo was taken by Kieran Cummins at Cairde na Cruite’s annual harp festival An Chúirt Chruitireachta in An Grianán, Co. Louth, July 2015 Editor: Caitríona Rowsome Editorial Committee: Caitríona Rowsome, Roisin McLaughlin President: Sheila Larchet Cuthbert Committee: Chairperson: Roisin McLaughlin; Festival Director: Áine Ní Dhubhghaill; Secretary: Helen Price; Treasurer: Kieran Cummins; Membership Secretary: Orla Belton; Harp Hire: Caitríona Rowsome; Cormac de Barra, Kathleen Loughnane, Dearbhail Finnegan, Aisling Ennis, Claire O’Donnell, Rachel Duffy Registered Charity: No. CHY 9687 Contact: E mail: [email protected] Website: www.cairdenacruite.com www.facebook.com/CairdeNaCruite Membership: Family €30 p.a. Individual €20 p.a. Student €10 p.a. An Cruitire contents © Cairde na Cruite unless otherwise stated. An Cruitire is the newsletter of Cairde na Cruite and is issued annually on the first week in December. Cairde na Cruite Events An Chúirt Chruitireachta 2015 The 30th anniversary of An Chúirt Chruitireachta 2015 was memorable for many reasons with Irish and international participants and artists celebrating for the first time in Ireland the collaboration between Irish and Colombian harpists. -
About More2screen
PRESENTS ABOUT MORE2SCREEN More2Screen is a leading distributor of Event Cinema with an unparalleled reputation for the delivery of great cinema events to audiences around the world. Founded in 2006 by CEO Christine Costello, it has been a global pioneer in the harnessing of digital technology to bring the very best in live music, performance arts and cultural entertainment to local cinema audiences. More2Screen won the Screen Award ‘Event Cinema Campaign of the Year’ category in 2018 for the live broadcast of the musical Everybody’s Talking About Jamie, and recent releases include Kinky Boots The Musical, Gauguin from the National Gallery, London, Matthew Bourne’s FILMED LIVE AT THE 3ARENA, DUBLIN Romeo & Juliet and 42nd Street The Musical. RUNNING TIME: 120 minutes (Part 1 55 minutes / Interval 5 minutes / For more information visit More2Screen.com Interval Feature 8 minutes / Part 2 52 minutes) BBFC: U Share your thoughts after the screening #Riverdance25Cinema @Riverdance / @More2Screen BRINGING MORE CHOICE TO YOUR CINEMA Live and recorded theatre, opera, @more2screen ballet, music & exhibitions CAST PRODUCTION Composer Producer Director Riverdance Mide Ni Bhaoill Riverdance Bill Whelan Moya Doherty John McColgan Irish Dance Troupe Andrew O’Reilly Flamenco Soloist Senior Executive Producer Tomas O’Se Rocio Montoya Julian Erskine Principal Dancers Natasia Petracic Bobby Hodges and Callum Spencer Riverdance Poetry and Music Amy-Mae Dolan Megan Walsh Russian Ensemble Riverdance Poetry - Theo Dorgan Peter Wilson dance captain Spoken by -
Les Mondes Celtes
LES MONDES CELTES sélection de la Bibliothèque de Toulouse dans le cadre du festival Rio Loco 2016 Introduction 7 sommaire Qu’est-ce que les mondes celtiques ? 8 Racines et patrimoine 10 Bretagne 66 Musique ! 10 • Musique ! 66 Cultures vivantes 13 • Cultures vivantes 74 • Civilisations celtes 13 • Littératures et récits de voyage 75 • Religions 16 • Arts et cinéma 80 • Traditions et symboles 17 • Jeune public : 81 Littératures et récits de voyages 19 contes et découvertes • Récits de voyages 23 Europe et ailleurs 84 Arts et cinéma 24 Europe 84 Jeune public : 26 Espagne : Asturies et Galice 84 contes et découvertes Asturies 84 Royaume-Uni 30 • Musique ! 84 Écosse 30 Galice 85 • Musique ! 30 • Musique ! 85 • Cultures vivantes 36 • Cinéma 86 • Littératures et récits de voyage 37 Italie : Vallée d’Aoste 87 • Arts et cinéma 39 • Musique ! 87 • Jeune public : 40 Ailleurs en Europe 87 contes et découvertes • Musique ! 87 Île de Man 41 • Cultures vivantes 88 • Musique ! 41 • Jeune public : 89 • Cultures vivantes 41 contes et découvertes Pays de Galles 42 Ailleurs 89 • Musique ! 42 • Musique ! 89 • Cultures vivantes 44 • Littératures 92 • Littératures 44 Cornouailles 45 ZOOM SUR… • Musique ! 45 La cornemuse 11 • Jeune public : 47 Les langues celtiques 13 contes et découvertes Jean Markale 18 Irlande 48 La Légende arthurienne 19 • Musique ! 48 Ken Loach 63 • Cultures vivantes 57 Lexique 93 • Littératures et récits de voyage 58 Remerciements 99 • Arts et cinéma 61 • Jeune public : 63 contes et découvertes Introduction 7 sommaire Qu’est-ce que les -
School Show Study Guide
420 East Packer Avenue Bethlehem, PA 18015-3179 (610) 758-2787 www.ZoellnerArtsCenter.org School Show Study Guide: Wednesday, March 13, 2019 at 10:00am Baker Hall at Zoellner Arts Center USING THIS STUDY GUIDE Dear Educator, On Wednesday, March 13, your class will attend a performance by Murphy’s Celtic Legacy, at Lehigh University’s Zoellner Arts Center in Baker Hall. You can use this study guide to engage your students and enrich their Zoellner Arts Center field trip. Materials in this guide include information about the performance, what you need to know about coming to a show at Zoellner Arts Center and interesting and engaging activities to use in your classroom prior to and following the performance. These activities are designed to go beyond the performance and connect the arts to other disciplines and skills including: Dance Culture Expression Social Sciences Teamwork Choreography Before attending the performance, we encourage you to: Review the Know before You Go items on page 3 and Terms to Know on pages 9. Learn About the Show on pages 4. Help your students understand Ireland on pages 11, the Irish dance on pages 17 and St. Patrick’s Day on pages 23. Engage your class the activity on pages 25. At the performance, we encourage you to: Encourage your students to stay focused on the performance. Encourage your students to make connections with what they already know about rhythm, music, and Irish culture. Ask students to observe how various show components, like costumes, lights, and sound impact their experience at the theatre. After the show, we encourage you to: Look through this study guide for activities, resources and integrated projects to use in your classroom. -
Jordi Savall and Carlos Núñez and Friends Thursday, May 10, 2018 at 8:00Pm This Is the 834Thconcert in Koerner Hall
Jordi Savall and Carlos Núñez and Friends Thursday, May 10, 2018 at 8:00pm This is the 834thconcert in Koerner Hall Carlos Núñez, Galician bagpipes, pastoral pipes (Baroque ancestor of the Irish Uilleann pipes) & whistles Pancho Álvarez, Viola Caipira (Brazilian guitar of Baroque origin) Xurxo Núñez, percussions, tambourins & Galician pandeiros Andrew Lawrence-King, Irish harp & psalterium Frank McGuire, bodhran Jordi Savall, treble viol (by Nicholas Chapuis, Paris c. 1750) lyra-viol (bass viol by Pelegrino Zanetti, Venice 1553) & direction PROGRAM – CELTIC UNIVERSE Introduction: Air for the Bagpipes The Caledonia Set Traditional Irish: Archibald MacDonald of Keppoch Traditional Irish: The Musical Priest / Scotch Mary Captain Simon Fraser (1816 Collection): Caledonia's Wail for Niel Gow Traditional Irish: Sackow's Jig Celtic Universe in Galicia Alalá En Querer Maruxiña Diferencias sobre la Gayta The Lord Moira Set Dan R. MacDonald: Abergeldie Castle Strathspey Traditional Scottish: Regents Rant - Lord Moira Ryan’s Mammoth Collection (Boston, 1883): Lord Moira's Hornpipe Flowers of Edinburg Charlie Hunter: The Hills of Lorne Reel: The Flowers of Edinburg Niel Gow: Lament for the Death of his Second Wife Fisher’s Hornpipe Tomas Anderson: Peter’s Peerie Boat INTERMISSION The Donegal Set Traditional Irish: The Tuttle’s Reel Traditional Scottish: Lady Mary Hay’s Scots Measure Turlough O’Carolan: Carolan’s Farewell Donegal tradition: Gusty’s Frolics Jimmy Holme’s Favorite Carolan’s Harp Anonymous Irish: Try if it is in Tune: Feeghan Geleash