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Chris Billam-Smith
MEET THE TEAM George McMillan Editor-in-Chief [email protected] Remembrance day this year marks 100 years since the end of World War One, it is a time when we remember those who have given their lives fighting in the armed forces. Our features section in this edition has a great piece on everything you need to know about the day and how to pay your respects. Elsewhere in the magazine you can find interviews with The Undateables star Daniel Wakeford, noughties legend Basshunter and local boxer Chris Billam Smith who is now prepping for his Commonwealth title fight. Have a spooky Halloween and we’ll see you at Christmas for the next edition of Nerve Magazine! Ryan Evans Aakash Bhatia Zlatna Nedev Design & Deputy Editor Features Editor Fashion & Lifestyle Editor [email protected] [email protected] [email protected] Silva Chege Claire Boad Jonathan Nagioff Debates Editor Entertainment Editor Sports Editor [email protected] [email protected] [email protected] 3 ISSUE 2 | OCTOBER 2018 | HALLOWEEN EDITION FEATURES 6 @nervemagazinebu Remembrance Day: 100 years 7 A whitewashed Hollywood 10 CONTENTS /Nerve Now My personal experience as an art model 13 CONTRIBUTORS FEATURES FASHION & LIFESTYLE 18 Danielle Werner Top tips for stress-free skin 19 Aakash Bhatia Paris Fashion Week 20 World’s most boring Halloween costumes 22 FASHION & LIFESTYLE Best fake tanning products 24 Clare Stephenson Gracie Leader DEBATES 26 Stephanie Lambert Zlatna Nedev Black culture in UK music 27 DESIGN Do we need a second Brexit vote? 30 DEBATES Ryan Evans Latin America refugee crisis 34 Ella Smith George McMillan Hannah Craven Jake Carter TWEETS FROM THE STREETS 36 Silva Chege James Harris ENTERTAINMENT 40 ENTERTAINMENT 7 Emma Reynolds The Daniel Wakeford Experience 41 George McMillan REMEMBERING 100 YEARS Basshunter: No. -
SCQF Level 6 Bagpipes Practical
Z The Royal Scottish Pipe Band Association Pipe Band College Certification Education Guidelines PDQB CERTIFICATE - SCQF 6 Bagpipes This guide is intended for both Students and Instructors. It must be read in conjunction with SCQF 6 Bagpipes Syllabus to ensure all aspects are covered. Refer www.pdqb.org. It is strongly recommended that all students sitting this level have access to the RSPBA Structured Learning Books. It is also recommended to purchase The College of Piping Tutor 4 – Piobaireachd be purchased. It is therefore important that Instructors use these recommended books as their main source material. The RSPBA Structured Learning Books are available free from the RSPBA Pipe Band College :- https://www.rspba.org/ Obtain College of Piping Tutor 4 Knowledge of SCQF 2 through 5 are essential for SCQF 6. Students who start at SCQF 6 may be required to prove competency of prior levels by the Examiner. Be prepared for this. Theory Aspects: • Write bars of a monotone rhythm in various combinations e.g. Compound Duple time / Cut Common time / Common time etc. And be able to consider rests in the combinations and ensure each bar has different combination of note values. • Explain the accent pattern in reels and describe two important factors in reel playing – could be any type of tune – say Reel or Strathspey etc– accent pattern - Simple Duple Time meaning 2 beats in the Bar SW for reel or Simple Quadruple Time SWMW for Strathspey etc. – important factors in playing different types of tunes – discuss this e.g. good technique, appropriate tempo, decision of round or dot cut etc. -
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
NOTING the TRADITION an Oral History Project from the National Piping Centre
NOTING THE TRADITION An Oral History Project from the National Piping Centre Interviewee Professor Roddy Cannon Interviewer James Beaton Date of Interview 30 th November 2012 This interview is copyright of the National Piping Centre Please refer to the Noting the Tradition Project Manager at the National Piping Centre, prior to any broadcast of or publication from this document. Project Manager Noting The Tradition The National Piping Centre 30-34 McPhater Street Glasgow G4 0HW [email protected] Copyright, The National Piping Centre 2012 This is James Beaton for ‘Noting the Tradition.’ I’m here in the National Piping Centre with Professor Roddy Cannon, piper, piping historian and researcher, and also professionally a scientist. It’s St Andrew’s Day 2012 and we’re going to be speaking really about Roddy’s life and times in piping. Roddy, good morning and welcome. Good morning. Good morning. It’s always good to be back. Well, it’s nice to see you here and it’s nice to have you back. I come here on averageabout once a year these days. I give a number of classes and I talk to your students and I talk to the staff and I talk to you and it’s wonderful. Well, it’s nice to have you here. The thing that strikes me very much about your classes is that they’re so different from one year to the next. Some sit quietly and listen, some of them join the debate vigorously, and very occasionally I get confuted by counter arguments and that’s what I like best. -
Feakle Festival August 6-12 '08
Feakle Festival August 6-12 '08 WED 6 1.00pm – 2.00pm Riches of Clare Concert featuring: Conor Keane, Seanie O'Gorman & Dave Harper. Community Centre. Free 7.30pm Official Opening of Festival. A tribute to Paddy O'Donoghue presented by Paula Carroll. Wine and food reception. All are welcome! Community Centre. Free 10.00pm Festival Session with Mark Donnellan, Cyril O’Donoghue and friends. Peppers Bar. Free Workshops will take place on Thursday 7, Friday 8 and Saturday 9 from 10am - 1pm unless otherwise stated. Enrol at National School from 9am onwards. Workshop prices are €20.00 per day or €50.00 for three days. Instrument Tutor Fiddle (beginner) Denise Glass Fiddle (Intermediate/Advanced) Martin Hayes, Pat O’Connor, Joan Hanarahan Accordian Eoghan O’Sullivan Concertina Mary MacNamara, Kate MacNamara Flute (beginner) Jennifer Lenihan Flute (Intermediate/Advanced) Paul Smyth Guitar Denis Cahill Singing (Thursday & Friday) Helen Hayes Sean Nós Singing Ciarán Ó'Gealbháin Banjo Dave Harper Set Dancing 11.00am – 5.00pm on Saturday. Bohan's Bar. Emphasis on Clare Battering Step. €10. Peter Hanrahan Seanos Dancing 10.00am - 1.00pm on Friday and Saturday. Suzanne Leahy Tin Whistle John Kelly Singing - 'In verse and in Rhyme'; trends in traditional songmaking (Saturday only). Micheal Marrinan THURS 7 10.00am – 1.00pm Workshops 3.00pm Festival Walk – enjoy the beautiful landscape of East Clare. Walk starts from the Community Centre and includes a house session and refreshment stop! (Approx 5 miles). Free 4.00pm - 6.00pm Afternoon session for workshop students providing an opportunity for students to play in sessions led by workshop tutors. -
Derry~ Londonderry Strategic Framework
Bogside, Fountain & Bishop Street DERRY~ LONDONDERRY STRATEGIC FRAMEWORK August 2016 DERRY~ LONDONDERRYURBAN VILLAGES INITIATIVE DERRY~ LONDONDERRY 1 INTRODUCTION 01 2 BOGSIDE, FOUNTAIN AND BISHOP ST TODAY 19 3 THE FUTURE 55 4 SUPPORTING DELIVERY 102 01INTRODUCTION Urban Villages Initiative - Bogside, Fountain and Bishop Street 1 INTRODUCTION 1 PURPOSE OF DOCUMENT This Strategic Framework is intended to provide a reference point for anyone involved in shaping investment decisions or identifying collaborative opportunities in the Bogside, Fountain and Bishop Street Urban Village area. The Framework presents findings from a creative process of analysis and reflection which involved individual members of the community, as well as representatives from local and central government. It provides an analysis of place and is a tool for informing action and investment. The Framework is intended to be used as a working document so that emerging opportunities can be identified and changing circumstances acknowledged. It begins by presenting information on what the Urban Villages Initiative is, what it is trying to achieve and how it will work. Section 2 then sets out the local context and presents key findings under three headings - strengths, symptoms and causes. Section 3 looks towards the future and sets out Strategic Actions which emerged through the process of engagement, evidence gathering and analysis. These can help to inform future investment plans as well as identifying opportunities for alignment of effort and collaboration around shared outcomes. Section 4 focuses on delivery. The Executive Office will take forward projects and programmes within its remit, and work with others to progress opportunities for shared delivery of outcomes, in keeping with the approach articulated in the draft Programme for Government Framework. -
Ballygally Castle Perched on the Tip of the Famous Causeway Coastal Route, Sits Ballygally Castle
Game of thrones TOUR Saturday 30th March Saturday 25th May Sunday 25th August Friday 26th April Sunday 28th July Friday 27th September Mid & East Antrim Game of thrones from Ballygally Castle Perched on the tip of the famous Causeway Coastal Route, sits Ballygally Castle. A stunning 17th century castle transformed into a luxurious hotel. This is the perfect base for exploring the Game of Thrones® filming locations along the stunning Antrim & Causeway Coastal Route. Starting with Sallagh Brae, view breath-taking scenes of the Antrim Coast Road, hearing how Game of Thrones® has used this unique landscape throughout filming. See and hear where filming took place along the local routes of Sallagh and Glenarm and where legends and stories shape the route, as you travel like a King or Queen in our luxury coach. Step off at Carnlough Bay, and dip if you dare, then onward to the Stormlands where Melisandre of Asshai gave birth to her ‘shadow creature’ who went on to slay Renly Baratheon. Approaching Ballycastle, east of Murlough Bay, the setting for Theon’s unconventional horseback ride with his sister Yara, and the scene where Davos is rescued after the Battle of Blackwater. Ballycastle is the birthplace of Game of Thrones® star Conleth Hill (Varys). With a brief view of Carrick-a-Rede Rope Bridge – an iconic crossing that connects the mainland to Carrick-a-Rede Island. While not being used in Game of Thrones®, the bridge is used by local salmon fishermen, many brave tourists and is framed by magnificent headland that provided a backdrop for several scenes. -
1951 Census Down County Report
GOVERNMENT OF NORTHERN IRELAND CENSUS OF POPULATION OF NORTHERN IRELAND 1951 County of Down Printed & presented pursuant to 14 & 15 Geo. 6, Ch, 6 BELFAST : HER MAJESTY'S STATIONERY OFFICE 1954 PRICE 7* 6d NET GOVERNMENT OF NORTHERN IRELAND CENSUS OF POPULATION OF NORTHERN IRELAND 1951 County of Down Printed & presented pursuant to 14 & 15 Geo. 6, Ch. 6 BELFAST : HER MAJESTY'S STATIONERY OFFICE 1954 PREFACE Three censuses of population have been taken since the Government of Northern Irel&nd was established. The first enumeration took place in 1926 and incorporated questions relating to occupation and industry, orphanhood and infirmities. The second enumeration made in 1937 was of more limited scope and was intended to bridge the gap between the census of 1926 and the census which it was proposed to take in 1941, but which had to be abandoned owing to the outbreak of war. The census taken as at mid-night of 8th-9th April, 1951, forms the basis of this report and like that in 1926 questions were asked as to the occupations and industries of the population. The length of time required to process the data collected at an enumeration before it can be presented in the ultimate reports is necessarily considerable. In order to meet immediate requirements, however, two Preliminary Reports on the 1951 census were published. The first of these gave the population figures by administrative areas and towns and villages, and by Counties and County Boroughs according to religious pro fession. The Second Report, which was restricted to Counties and County Boroughs, gave the population by age groups. -
Travelling with Translink
Belfast Bus Map - Metro Services Showing High Frequency Corridors within the Metro Network Monkstown Main Corridors within Metro Network 1E Roughfort Milewater 1D Mossley Monkstown (Devenish Drive) Road From every From every Drive 5-10 mins 15-30 mins Carnmoney / Fairview Ballyhenry 2C/D/E 2C/D/E/G Jordanstown 1 Antrim Road Ballyearl Road 1A/C Road 2 Shore Road Drive 1B 14/A/B/C 13/A/B/C 3 Holywood Road Travelling with 13C, 14C 1A/C 2G New Manse 2A/B 1A/C Monkstown Forthill 13/A/B Avenue 4 Upper Newtownards Rd Mossley Way Drive 13B Circular Road 5 Castlereagh Road 2C/D/E 14B 1B/C/D/G Manse 2B Carnmoney Ballyduff 6 Cregagh Road Road Road Station Hydepark Doagh Ormeau Road Road Road 7 14/A/B/C 2H 8 Malone Road 13/A/B/C Cloughfern 2A Rathfern 9 Lisburn Road Translink 13C, 14C 1G 14A Ballyhenry 10 Falls Road Road 1B/C/D Derrycoole East 2D/E/H 14/C Antrim 11 Shankill Road 13/A/B/C Northcott Institute Rathmore 12 Oldpark Road Shopping 2B Carnmoney Drive 13/C 13A 14/A/B/C Centre Road A guide to using passenger transport in Northern Ireland 1B/C Doagh Sandyknowes 1A 16 Other Routes 1D Road 2C Antrim Terminus P Park & Ride 13 City Express 1E Road Glengormley 2E/H 1F 1B/C/F/G 13/A/B y Single direction routes indicated by arrows 13C, 14C M2 Motorway 1E/J 2A/B a w Church Braden r Inbound Outbound Circular Route o Road Park t o Mallusk Bellevue 2D M 1J 14/A/B Industrial M2 Estate Royal Abbey- M5 Mo 1F Mail 1E/J torwcentre 64 Belfast Zoo 2A/B 2B 14/A/C Blackrock Hightown a 2B/D Square y 64 Arthur 13C Belfast Castle Road 12C Whitewell 13/A/B 2B/C/D/E/G/H -
Ethnicising Ulster's Protestants
Ethnicising Ulster’s Protestants Tolerance, Peoplehood, and Class in Ulster-Scots Ethnopedagogy Peter Robert Gardner Jesus College, The University of Cambridge This dissertation is submitted for the degree of Doctor of Philosophy. Contents Figures and Tables iv Abbreviations and Short Forms v Acknowledgements vi Word Limit and Plagiarism Statement vii Abstract viii Chapter One: Introduction 1 1.1 Research Questions, Methods and Chapter Overview 5 1.2 Tolerance, Peoplehood, Dignity 7 Chapter Two: Protestantism, Unionism and Consociational Ideology 11 2.1 Shifting Peoplehoods 12 2.1.1 From British Rule to Unionist Rule 12 2.1.2 From Multiplicity toward Britishness 15 2.1.3 Defeatism and the Cultural Turn 18 2.2 Consociationalism, Normativity, Power 21 2.3 Ulster-Scots 26 2.3.1 Ethnic Peoplehood 26 2.3.2 Who are the Ulster-Scots? 30 2.3.3 “Revival” 35 2.4 Conclusion 38 Chapter Three: Communal Segregation and Educational Peace-Building 39 3.1 The Current State of Segregation 39 3.2 Segregated Education 45 3.3 Education and Peace-Building 55 3.4 Conclusion: De-segregating the Mind 63 Chapter Four: Methods 65 4.1 Research Design and Methods 65 4.1.1 Educational Materials 66 4.1.2 Interviews 67 4.1.3. Primary School Survey 69 4.2 Analysis 70 4.2.1 Euphemism, “Telling” and Reading Silences 72 4.2.2 Reflexivity, Stickiness and Power Dynamics 75 4.3 Conclusion 78 Chapter Five: The Development of Ulster-Scots Education 79 5.1 Processes of Peoplehood-Building 79 5.2 Three Phases of Development 81 5.2.1 Phase One: Grass-Roots Education, Elite Lobbying -
Kitty O'neil And
KITTY O’NEIL AND HER “CHAMPION JIG” A Forgotten Irish-American Variety Theater Star by Don Meade revised August, 20171 The names of Irish dance tunes are not usually of much importance. Some musicians find a title such as “The Mouse in the Cupboard” or “The Little Pig Lamenting the Empty Trough” to be a useful device for recalling a tune from memory. Others are more casual about names, often transferring them accidentally from one tune to another or simply forgetting them entirely. Occasionally, however, the name of a tune can serve as the key that opens up a hidden history behind the melody. One such melody is “Kitty O'Neil's Champion Jig,” an elaborate, seven-part fiddler's showpiece that has been revived in recent years by Irish traditional musicians on both sides of the Atlantic. Despite the tune's Irish-sounding name and its adoption into the contemporary Irish repertoire, “Kitty O'Neil's Champion” is actually a hardy survivor from 19th-century American minstrelsy and variety theater. Ryan’s Mammoth Collection Kitty O'Neil, the tune's namesake, was a popular New York-based variety stage dancer of the 1870’s and '80’s. The revival of her “Champion Jig” didn’t initially do much to revive her reputation, however, because the tune became widely known as “Kitty O'Shea” after it was recorded under that title by County Donegal fiddle great Tommy Peoples, who started playing the 1 This article was first published in New Hibernia Review (Vol. 6, No. 3, Autumn 2002). An expanded version, with additions and corrections, has since been posted at http://www.blarneystar.com. -
The Derry/Londonderry Report on Upholding the Human Right to Culture in Post-Conflict Societies
The Derry/Londonderry Report on Upholding the Human Right to Culture in Post-Conflict Societies The Derry/Londonderry Report on Upholding the Human Right to Culture in Post-Conflict Societies March 2014 ISBN 978-1-910219-13-3 © Northern Ireland Human Rights Commission Temple Court, 39 North Street, Belfast BT1 1NA Tel: (028) 9024 3987 Fax: (028) 9024 7844 Email: [email protected] Online: www.nihrc.org twitter.com/nihrc facebook.com/nihrc youtube.com/nihrc The Derry/Londonderry Report on Upholding the Human Right to Culture in Post-Conflict Societies Foreword The Northern Ireland Human Rights Commission (the Commission) is mandated as a national human rights institution to uphold all of the human rights in the international human rights treaties. These include the right to culture. However, the Commission has found that little attention has been paid to cultural rights in human rights discourse. In particular, the promotion and protection of cultural rights in societies emerging from conflict is a neglected area. Little guidance exists for States, cultural stakeholders and such human rights actors as national human rights institutions as to how best to uphold cultural rights in such contexts. This gap is of particular concern for the promotion of cultural rights in Northern Ireland, a society that is emerging from decades of conflict. It is in order to redress this gap in literature and policy guidance that the Commission is publishing the present report. The report is set against the backdrop of the designation of Derry/Londonderry as UK City of Culture 2013. The experience of that city as City of Culture is used as a case study in relation to the realisation of cultural rights in a post-conflict society.