1100 Ce Medieval Fyddle &
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ACET Junior Academies'
ACET Junior Academies’ Scheme of Work for music Year 5 Unit 1.1: A Musical Masque About this unit: This unit of work is linked to the History scheme of work HT 1.1 Post 1066 Study: The Tudors. It is a starting point for exploration into Tudor music. In it children will begin to learn about Tudor Dance music, in particular the Pavan as a popular Tudor dance. Children will identify its characteristic musical features and rhythms before attempting to dance the Pavan and performing their own Pavan melody over a drone accompaniment. Children will then move on to learn about traditional Tudor musical instruments before exploring Tudor songs and madrigal-style songs with a ‘fa, la, la, la’ refrain. Where they will compose their own lyrics to a madrigal melody. Fanfares are explored briefly before children work towards putting on a Tudor style banquet/concert combining elements of all the musical learning in to a class performance. Unit structure National Curriculum objectives: This unit is structured around six sequential music enquiries: 1. What is a Pavan? Links to previous and future National Curriculum 2. How do we perform a Pavan? units/objectives 3. What do Tudor instruments sound like? KS2 4. What is a Madrigal? ● Listen with attention to detail and recall sound with 5. What is a Fanfare? increasing aural memory. BBC Ten Pieces 6. A musical masque – banquet/concert. ● Appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians. ● Play and perform in solo ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Romanian Traditional Musical Instruments
GRU-10-P-LP-57-DJ-TR ROMANIAN TRADITIONAL MUSICAL INSTRUMENTS Romania is a European country whose population consists mainly (approx. 90%) of ethnic Romanians, as well as a variety of minorities such as German, Hungarian and Roma (Gypsy) populations. This has resulted in a multicultural environment which includes active ethnic music scenes. Romania also has thriving scenes in the fields of pop music, hip hop, heavy metal and rock and roll. During the first decade of the 21st century some Europop groups, such as Morandi, Akcent, and Yarabi, achieved success abroad. Traditional Romanian folk music remains popular, and some folk musicians have come to national (and even international) fame. ROMANIAN TRADITIONAL MUSIC Folk music is the oldest form of Romanian musical creation, characterized by great vitality; it is the defining source of the cultured musical creation, both religious and lay. Conservation of Romanian folk music has been aided by a large and enduring audience, and by numerous performers who helped propagate and further develop the folk sound. (One of them, Gheorghe Zamfir, is famous throughout the world today, and helped popularize a traditional Romanian folk instrument, the panpipes.) The earliest music was played on various pipes with rhythmical accompaniment later added by a cobza. This style can be still found in Moldavian Carpathian regions of Vrancea and Bucovina and with the Hungarian Csango minority. The Greek historians have recorded that the Dacians played guitars, and priests perform songs with added guitars. The bagpipe was popular from medieval times, as it was in most European countries, but became rare in recent times before a 20th century revival. -
Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
Jeremy Montagu Some Mss. in the British Library with Instruments Page 1 of 2
Jeremy Montagu Some Mss. In the British Library with Instruments Page 1 of 2 Some Manuscripts in the British Library with Illustrations of Musical Instruments and a few other sources that I have found FoMRHIQ 2, January 1976,Comm. 8 Arundel 83. Conflation of two English Psalters, East Anglia, c.1310. The second half is known as the de Lisle Psalter. Good source. Includes: long trumpets, harps, citole, bagpipe, bells, fiddle, portative, psaltery, duct flute, pipe & tabor. Cotton, Tib.C.vi. Psalter, mid 11th c. f.30 is well-known; the rest is the usual Boethius improbabilities of the period. Egerton 1139. Queen Melissander’s Psalter, Latin Kingdom of Jerusalem, c.1140. The only instrument is a good harp, available asa postcard. The ivory cover is well known: King David playing what might be a dulcimer. Harley 2804. German Bible, 1148. f.3 has a not very good David and musicians. Harley 4425. La Roman de la Rose, pre-1500. 2 folios with music parties. Royal 2.A.xvi. Psalter time of Henry VIII, with annotations by him. Harp, pipe& tabor, short trumpet, dulcimer. Interesting that Henry is one of the musicians (and his fool shuts his ears to avoid his playing). Royal 2.A.xxii. The Westminster Psalter, late 12th c. David with harp and bells (postcard available), another harp. Interesting in that Westminster Abbey has a very similar hemi- spherical bell in the Undercroft exhibition room. Royal 2.B.vii. The Queen Mary Psalter, English early 14th c. well known source with a lot of material, but none quite as good and clear as in other East Anglian psalters (e.g. -
Medieval Pilgrimage in Iberia
TEXAS ARLY M USIC PROJECT EDANIEL JOHNSON, ARTI STIC DIRECTOR Medieval Pilgrimage In Iberia The Program Porque trobar (Las Cantigas de Santa María, Prologo; attrib. to Alfonso X, d. 1284) Stephanie, Prewitt, soloist Des oge mais quer eu trobar (Las Cantigas de Santa María, no. 1) Cayla Cardiff, Erin Calata, & Stephanie Prewitt, soloists Catholicorum concio (Las Huelgas Codex, no. 31; Anonymous, 13th c.) Singers Responsory: O adiutor omnium saeculorum & Prosa: Portum in ultimo (Codex Calixtinus, no. 69, c. 1150; Magister Ato, Bishop of Troyes) Nina Revering, soloist Singers Ad superni regis decus (Codex Calixtinus, no. 147; Magister Albericus, Archbishop of Berry) Cayla Cardiff & Erin Calata, soloists Cuncti simus concanentes (Llibre vermell; The Monastery of Montserrat, 13th & 14th centuries) All Iam nubes dissolvitur / Iam novum sidus (Las Huelgas Codex, no. 133) Jenny Houghton & Nina Revering, soloists Dized’, ai trobadores! (Las Cantigas de Santa María, no. 260) Erin Calata, Stephanie Prewitt, & Susan Richter, soloists All Splendens ceptigera (Llibre vermell) Singers Los set goyts (Llibre vermell) Jenifer Thyssen, Nina Revering, Cayla Cardiff, & Erin Calata, soloists All INTERMISSION 1 Ave regina celorum / Alma redemptoris / Alma (Las Huelgas Codex, no. 121) Singers Toda cousa que a Virgen (Las Cantigas de Santa María, no. 117) Instrumental Congaudeant catholici (Codex Calixtinus, no. 145; Magister Albertus of Paris) Singers Ave, verum corpus/Ave, vera caro Christi (Las Huelgas Codex, no. 135) Instrumental Plange, Castella (Las Huelgas Codex, no. 172) Singers O Maria, virgo davitica / O Maria, maris stella / Veritatem (Las Huelgas Codex, no. 104) Cayla Cardiff, Cina Crisara, Jenny Houghton, & Nina Revering, soloists •••• Iacobe sancte tuum (Codex Calixtinus, no. -
Day 23 BASSOON FIFE MARIMBAS SHOFAR BONGOS FLUGELHORN
Day 23 Musical Instruments 2 Find and circle all of the musical instruments that are hidden in the grid. The remaining letters spell a secret message - a G. K. Chesterton quotation. BASSOON FIFE MARIMBAS SHOFAR BONGOS FLUGELHORN MELODEON SLIDE WHISTLE BOUZOUKI GONG MOCENO STRUMSTICK BUGLE HARMONICA NEFER TAMBOURINE CASTANETS HARMONIUM OCARINA TAMBURA CONCERTINA HUNTING HORN PIANO TIN WHISTLE CONCH HORN JEWS' HARP REBEC TRUMPET CUMBUS KEYBOARD RECORDER TUBA CYMBAL LUTE SAROD VIOLA DULCIMER MANDOLIN SAXOPHONE XYLOPHONE Musical Instruments 2 This is the solution to the puzzle located here. दिन 23 Musical Instruments 2 Find and circle all of the musical instruments that are hidden in the grid. The remaining letters spell a secret message - a G. K. Chesterton quotation. BASSOON FIFE MARIMBAS SHOFAR BONGOS FLUGELHORN MELODEON SLIDE WHISTLE BOUZOUKI GONG MOCENO STRUMSTICK BUGLE HARMONICA NEFER TAMBOURINE CASTANETS HARMONIUM OCARINA TAMBURA CONCERTINA HUNTING HORN PIANO TIN WHISTLE CONCH HORN JEWS' HARP REBEC TRUMPET CUMBUS KEYBOARD RECORDER TUBA CYMBAL LUTE SAROD VIOLA DULCIMER MANDOLIN SAXOPHONE XYLOPHONE Musical Instruments 2 This is the solution to the puzzle located here. દિવસ 23. Musical Instruments 2 Find and circle all of the musical instruments that are hidden in the grid. The remaining letters spell a secret message - a G. K. Chesterton quotation. BASSOON FIFE MARIMBAS SHOFAR BONGOS FLUGELHORN MELODEON SLIDE WHISTLE BOUZOUKI GONG MOCENO STRUMSTICK BUGLE HARMONICA NEFER TAMBOURINE CASTANETS HARMONIUM OCARINA TAMBURA CONCERTINA HUNTING HORN PIANO TIN WHISTLE CONCH HORN JEWS' HARP REBEC TRUMPET CUMBUS KEYBOARD RECORDER TUBA CYMBAL LUTE SAROD VIOLA DULCIMER MANDOLIN SAXOPHONE XYLOPHONE Musical Instruments 2 This is the solution to the puzzle located here.. -
S£Te~M RICE UNNERSITY School of Music I Motet: Oculus Non Vidit Lassus Prophetiae Sibyllarum Lass Us Motet: Prologue/Carmina Chromatico Motet: Sibylla Cumana
SCHOLA PASTORIS ANT/QUAE MUS/CAE ' early music ensemble Michael Hammond, director 1£ ~ ,.. A small sampling of music I ~ by Orlande de Lassus (1532-1594) ~ · ~ and Giovanni Pierluigi da Palestrina (c.1525-1594) 1-> ... on the 400th anniversary of their deaths . ~y ll Monday, April18, 1994 8:00p.m. ~' Lillian H. Duncan Recital HaJl s£te~m RICE UNNERSITY SchOol Of Music I Motet: Oculus non vidit Lassus Prophetiae Sibyllarum Lass us Motet: Prologue/Carmina Chromatico Motet: Sibylla Cumana Magnificat in Mode W Palestrina II French Chanson: Bonjour, mon coeur Lass us ~ I ,.., Instrumental Ricercare (Dorian) Palestrina (?) Italian Madrigal: Matona, mia cara Lass us ~ III "" 1 1 Miss a: Ut re mi fa sol/a (from the Kyrie) Palestrina German Lied: Wohl kommt der Mai Lass us Motet: Fulgebunt justi Lass us IV Motet: Sicut cervus desiderat ad fontes aquarum Palestrina French Chanson: Un jour vis un foulon Lassus v Palestrina Six-Voice Motet: Assumpta est Maria I ( l "' THE ENSEMBLE ~ SINGERS Lara Bruckmann, soprano )- ..... Sara Bayer, soprano ~ ,., .J.. Jeffrey Nytch, alto Gina Goff, alto Francisco Almanza, tenor Erik Leidal, bass I· . Alan Hicks, bass I"" INSTRUMENTALISTS i - ti Xin-Yang Zhou, treble recorder I _._ LaNelle McDowall, descant recorder i5 Richard Hardie, tenor recorder ~v and tenor krummhorn 1: Kurt Johnson, bass krummhorn and church bass Michael Hammond, tenor recorder and soprano krummhorn Michael Mayhew, descant recorder Susan Kerbs, Renaissance flute David Ford, trombone Nathaniel Dickey, trombone Don Immel, trombone . -\ ), Wade Demmert, trombone Erik Leidal, portativ organ Wendy Koons, rebec Inga Ingver, vielle Mihaela Oancea, vielle t ~ Magdalena Villegas, bass gamba ... -
LOVE & DEVOTION in MEDIEVAL ENGLAND the DUFAY COLLECTIVE & VOICE WILLIAM LYONS Director
LOVE & DEVOTION IN MEDIEVAL ENGLAND THE DUFAY COLLECTIVE & VOICE WILLIAM LYONS director The Dufay Collective: Jon Banks, William Lyons, Rebecca Austen-Brown 2 I have set my hert so hy Love & devotion in medieval England 1 Blowe, northerne wynd (Lyons) 4.01 Source: London, British Library, Harley MS 2253, f.72v [lyric only] 2 I have set my hert so hy (Anon.) 2.52 Oxford, Bodleian Library, MS Douce 381, f.20 3 Plus pur l’enoyr (Anon.) 2.14 Cambridge University Library, Add. MS 5943, f.163v 4 Bryd one brere (Anon., arr. Lyons) 2.54 Cambridge, King’s College, Muniment Roll 2 W.32v 5 Le grant pleyser (Anon.) 2.37 Cambridge University Library, Add. MS 5943, f.165v 6 Maiden in the mor lay (Lyons) 5.01 Oxford, Bodleian Library, MS Rawlinson D.913, flyleaf [lyric only] 7 Wel wer hym that wyst (Anon.) 3.12 Cambridge University Library, Add. MS 5943, f.162v 8 Esperance (Anon.) 2.24 Cambridge University Library, Add. MS 5943, f.165r 9 Adam lay ibowndyn (Lyons) 2.26 MS Sloane 2593, ff.10v–11 [lyric only] 3 10 Danger me hath, unskyfuly (Anon.) 1.30 Cambridge University Library, Add. MS 5943, f.166r 11 Alysoun (Lyons) 6.21 London, British Library, Harley MS 2253, f.63v [lyric only] 12 Ye have so longe kepe schepe (Anon.) 4.22 Oxford, Bodleian Library, MS Douce 381, f.20v 13 Wyth ryth al my herte (Anon.) 4.29 Oxford, Bodleian Library, MS Douce 381, f.22 14 Nowel: owt of youre sleep aryse (Anon.) 4.37 Oxford, Bodleian Library, MS Arch. -
The Guitar in the Middle Ages and Renaissance by Julie Carmen for Tournaments Illuminated, Issue #129, Winter, 1999 (Pre-Print)
Central Washington University ScholarWorks@CWU Library Scholarship James E. Brooks Library Winter 1999 The uitG ar in the Middle Ages and Renaissance Julie D. Carmen Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/libraryfac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Carmen, Julie D., "The uitG ar in the Middle Ages and Renaissance" (1999). Library Scholarship. 62. https://digitalcommons.cwu.edu/libraryfac/62 This Article is brought to you for free and open access by the James E. Brooks Library at ScholarWorks@CWU. It has been accepted for inclusion in Library Scholarship by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. 1 The Guitar in the Middle Ages and Renaissance By Julie Carmen For Tournaments Illuminated, Issue #129, Winter, 1999 (pre-print) In the Society for Creative Anachronism (SCA) world there are high standards for recovering and reconstructing the truth in history. Recorded history determines how we re-create the Middle Ages, and it is with much determination that we search for as many facts as possible for each of our varied interests. This article seeks to clarify the historical authenticity of one of the most popular musical instruments, the guitar. In preparation for this search, guidelines had to be set as to what the Society deems “authentic”. Is it more aesthetically pleasing -
A Medieval Bestiary
know what longtime readers were thinking: today’s scene as well a romp through 1970s and glockenspiel; it could be on a Pentangle The only reason I wrote about medieval Hamburg. Your English-speaking tour guide album, except for the words by 13th-century IGerman folk-rock in issue #123 for this journey is Ken Hunt, who lived in Minnesinger Walther von Vogelweide. The CD (April/May 2006) was to get nerd beaks on the Hamburg at the time and has penned historical continues in a similar vein, venturing into cover. Not so, I tell you! In addition to men liner notes setting Ougenweide’s music in psychedelic territory in the trippy break from with beaks, this scene features wolves, foxes, proper context. “Es stount ein frouwe alleine,” sweet early ravens, swans, owls, and other beasties, as well As Hunt explains, the idea for German music in the recorder-and-harmonium textures as songs about love, drink, and (of course) medieval rock was born when Olaf Casalich, a on “Ouwe,” Jethro Tull’s early prog-rock flute death. It really is a vital genre, with its own former student of Middle High German, as well on “Swa gouter hande wurzen sint,” and loose conventions, its own scene, and as rich a as a musician, attended a rehearsal of Frank but energetic folk dance music in the arrange- history as other areas under the folk-rock Wulff’s as-yet-unnamed band, which was ment of “Der Fuchs,” a German translation of umbrella. Hence, another such column, inspired by U.K.