Dancing, by Mrs. Lilly Grove, F.R.G.S., and Other Writers, with Musical Examples

Total Page:16

File Type:pdf, Size:1020Kb

Dancing, by Mrs. Lilly Grove, F.R.G.S., and Other Writers, with Musical Examples Library of Congress Dancing, by Mrs. Lilly Grove, F.R.G.S., and other writers, with musical examples. Illustrated by Percy Macquoid and by numerous reproductions of engravings, prints and photographs. The Badminton Library OF SPORTS AND PASTIMES EDITED BY HIS GRACE THE (EIGHTH) DUKE OF BEAUFORT, K.G. ASSISTED BY ALFRED E. T. WATSON DANCING SIR ROGER DE COVERLEY, 1820 DANCING BY MRS. Frazer LILLY GROVE, F.R.G.S. AND OTHER WRITERS WITH MUSICAL EXAMPLES ILLUSTRATED BY PERCY MACQUOID AND BY NUMEROUS REPRODUCTIONS OF ENGRAVINGS PRINTS AND PHOTOGRAPHS LC New Impression LONGMANS, GREEN, AND CO. 39 PATERNOSTER ROW, LONDON BOMBAY AND CALCUTTA 1907 Al rights reserved Dancing, by Mrs. Lilly Grove, F.R.G.S., and other writers, with musical examples. Illustrated by Percy Macquoid and by numerous reproductions of engravings, prints and photographs. http://www.loc.gov/resource/musdi.077 Library of Congress GV1601 F84 1907 I12E82 14 BIBLIOGRAPHICAL NOTE . First Edition, November 1895. Cheaper Reissue, July 1901. Reprinted April 1907. LC DEDICATION TO H.R.H. THE PRINCE OF WALES a. m. s. N. 5', 14. Badminton : May 1885. Having received permission to dedicate these volumes, the Badminton Library of Sports and Pastimes , to His Royal Highness the Prince of Wales , I do so feeling that I am dedicating them to one of the best and keenest sportsmen of our time. I can say, from personal observation, that there is no man who can extricate himself from a bustling and pushing crowd of horsemen, when a fox breaks covert, more dexterously and quickly than His Royal Highness; and that when hounds run hard over a big country, no man can take a line of his own and live with them better. Also, when the wind has been blowing hard, often have I seen His Royal Highness knocking over driven grouse and partridges and high-rocketing pheasants in first-rate vi workmanlike style. He is held to be a good yachtsman, and as Commodore of the Royal Yacht Squadron is looked up to by those who love that pleasant and exhilarating pastime. His encouragement of racing is well known, and his attendance at the University, Public School, and other important Matches testifies to his being, like most English gentlemen, fond of all manly sports. I consider it a great privilege to be allowed to dedicate these volumes to so eminent a sportsman as His Royal Dancing, by Mrs. Lilly Grove, F.R.G.S., and other writers, with musical examples. Illustrated by Percy Macquoid and by numerous reproductions of engravings, prints and photographs. http://www.loc.gov/resource/musdi.077 Library of Congress Highness the Prince of Wales, and I do so with sincere feelings of respect and esteem and loyal devotion. BEAUFORT. BADMINTON PREFACE A few lines only are necessary to explain the object with which these volumes are put forth. At the time when the Badminton Library was started no modern encyclopædia existed to which the inexperienced man, who sought guidance in the practice of the various British Sports and Pastimes, could turn for information. Some books there were on Hunting, some on Racing, some on Lawn Tennis, some on Fishing, and so on; but one Library, or succession of volumes, which treated of the Sports and Pastimes indulged in by Englishmen—and women—was wanting. The Badminton Library was produced to supply the want. Of the imperfections viii which must be found in the execution of such design we are conscious. Experts often differ. But this we may say, that those who are seeking for knowledge on any of the subjects dealt with will find the results of many years' experience written by men who are in every case adepts at the Sport or Pastime of which they write. It is to point the way to success to those who are ignorant of the sciences they aspire to master, and who have no friend to help or coach them, that these volumes are written. To those who have worked hard to place simply and clearly before the reader that which he will find within the best thanks of the Editor are due. That it has been no slight labour to supervise all that has been written he must acknowledge; but it has been a labour of love, and very much lightened by the courtesy of the Publisher, by the unflinching, indefatigable assistance of the SubEditor, and by the intelligent and able arrangement of each subject by the various writers, who are so thoroughly masters of the subjects of Dancing, by Mrs. Lilly Grove, F.R.G.S., and other writers, with musical examples. Illustrated by Percy Macquoid and by numerous reproductions of engravings, prints and photographs. http://www.loc.gov/resource/musdi.077 Library of Congress which they treat. The reward we all hope to reap is that our work may prove useful to this and future generations. BEAUFORT. CONTENTS CHAPTER PAGE I. Introduction 1 II. The Dances of Antiquity 15 III. The Dances of Savages 65 IV. The Ritual Dance 93 V. English Dances 124 VI. The Dance in Scotland, Ireland, and Wales 179 VII. Gipsy, Hungarian, Bohemian, Russian, and Polish Dances 213 VIII. The Dance in France 242 IX. The Dance in Germany, Holland, Belgium, Scandinavia, and Lapland 289 X. The Dance in Portugal, Spain, and Italy 306 XI. The Dances of the East: India, Persia, China, Japan 344 XII. The Ballet 360 XIII. The Practical Use of Dancing 381 From Notes by Mrs. Wordsworth. Dancing, by Mrs. Lilly Grove, F.R.G.S., and other writers, with musical examples. Illustrated by Percy Macquoid and by numerous reproductions of engravings, prints and photographs. http://www.loc.gov/resource/musdi.077 Library of Congress x XIV. Time and Rhythm of the Dance By Miss Middleton 387. XV. A Retrospect By the Honourable Mrs. Armytage 401. XVI. Balls: Hostesses and Guests By the Countess of Ancaster. 411 Description of Dances 419 Index 429 ILLUSTRATIONS ( Reproduced by Messrs. Walker & Boutall ) FULL PAGE Sir Roger de Coverley, 1820. Percy Macquoid. Frontispiece The Skirt Dance Percy Macquid To face p. 6 A Nautch at Bombay From a Print after Prince Alexis Soltykoff. " 10 Rustic Dance In Holland From an Engraving after David Teniers " 12 Dancing Girls At An Ancient Egyptian Banquet(Thebes) From a coloured Eyptian Wall- painting in the British Museum. " 22 The Dance Round The Golden Calf From an Engraving after Nicholas Poussin. " 26 Salome Before Herod From an Engraving after Kctrei was Mander. " 30 The Ball-dance In Ancient Greece Percy Macquoid. " 40 Dancing, by Mrs. Lilly Grove, F.R.G.S., and other writers, with musical examples. Illustrated by Percy Macquoid and by numerous reproductions of engravings, prints and photographs. http://www.loc.gov/resource/musdi.077 Library of Congress A Ceremony of the ‘clowns’ on The Morning of the Hay-a-masiieque Dance in Zuñi Walter Fewkes. " 84 Tahitian Dance Fives an Engraving by P' Bartoloest. " 88 The Maypole From an Engraving after Joseph Nash. " 146 xii Milkmaids' Dance On May Day From the Vauxhall Painting by F. Hayman To face p. 148 The Cushion Dance, Elizabethan, 1570 Percy Macquoid. " 158 King Charles II. And Princess Elizabeth Dancing At The Hague From the Picture by Fanssens at Windsor Castle. " 162 The Penny Wedding From an Engraving after Sir David Wilkie. " 184 Irish Jig From an Engraving after Wrightson. " 206 Wallachian Soldiers Dancing To Tsigane Accompaniment From a Print after D. A. M. Raffet. " 214 French Ball, Circa 1660 From an Engraving by Abraham Bosse. " 248 The Pavane At The Court Of Henri III., Circa1580 Percy Macquoid. " 254 A Strange ‘Coranto’ An incident in the life of Claude Duval, after W. P. Frith, R.A. "256 The Menuet, 1720 Percy Macquoid " 260 The Gavotte, 1780 Percy Macquoid. " 256 Dancing, by Mrs. Lilly Grove, F.R.G.S., and other writers, with musical examples. Illustrated by Percy Macquoid and by numerous reproductions of engravings, prints and photographs. http://www.loc.gov/resource/musdi.077 Library of Congress Ball Given By Albrecht Iv., Grand Duke Of Bavaria From an Engraving by Martin Zatzinger, dated 1500. " 290 The Prodigal Son After Karel van Mander. " 292 The Waltz Percy Macquoid. " 298 State Ball At Amsterdam, 1768 From an Engraving by R. Vinkeles. " 300 Sword Dance Of Vikings Round The Sacred Horns, Circa 900 Percy Macquoid. " 302 Norwegian Dance After A. Tidemand " 304. Et. Bolero From a Print after F. F. Lewis. " 322 xiii The Cardinals Of Narbonne And Of St. Sévern Dancing A Pavane Before Louis Xii. At Milan, 1499 Percy Macquoid. To face p. 332 Saltarello At Rome From an Engraving after A. C. H. Haudebourt. " 334 Tarantella At Naples From an Etching by B. Pinelli. " 340 Signora Baccelli " 372 A Dance Fan " 378 The Ballet Percy Macquoid. " 380 Queen Charlotte's Birth-night Ball At St. James's From an Engraving after Daniel Dodd. " 406 The Pas De Quatre Percy Macquoid. " 422 Dancing, by Mrs. Lilly Grove, F.R.G.S., and other writers, with musical examples. Illustrated by Percy Macquoid and by numerous reproductions of engravings, prints and photographs. http://www.loc.gov/resource/musdi.077 Library of Congress Le Bal Paré From an Engraving after A. de St. Aubin. " 424 In Text PAGE Vignette Percy Macquoid. Title The Dancing Lesson From an Engraving after P. Canot. 1745. 3 Venetian Wedding Dance From a Woodcut by Fost Amman, about 1570. 9 La Jok—Wallachian Dance After D.4. M. Raffet, 1837. 13 Provincial Dance In Italy From an EEtching by B, Pinelli, 1814. 14 Trajan Dancing Before The Egyptian Deities 17 The Dervishes Dancing In Egypt From an Egraving afterC.
Recommended publications
  • Bibliografia Canterbury Ridotta
    Presentazione La scena di Canterbury fu un movimento musicale che si sviluppò tra la fine degli anni Sessanta e la meta dei Settanta nell’omonima cittadina del Kent. Anche se furono molti i gruppi che la composero – alcuni dei quali ancora oggi leggendari come i Soft Machine, i Caravan o i Matching Mole - il numero dei musicisti coinvolti fu sempre molto ridotto, favorendo così un rapporto osmotico tra le varie band anche nelle scelte musicali intraprese. Ciò che caratterizzò la Scena fu infatti una comune idea di arte che possiamo definire – citando Marcus O’Dair, autore della recente biografia di Wyatt – come “un certo stile rock psichedelico venato di jazz, pastorale, very english… con tempi complessi, una preferenza di tastiere rispetto alle chitarre e un modo di cantare convintamente radicato nell’East Kent, là dove i cantanti dell’epoca posavano tutti da Delta bluesman”. Nata con l’album Soft Machine (1968) e conclusa da Rock Bottom (1974) – nonostante i successivi epigoni - la Scena di Canterbury fu sicuramente il momento più alto di tutto il genere Progressive e uno dei movimenti musicali più innovativi (e altrettanto ostici) di tutto il rock. Riascoltato oggi può apparire troppo contorto e scarsamente fruibile, persino nelle sue espressioni più “pop” quali i dischi di Kevin Ayers o dei Caravan, ma in realtà è ancora un’esperienza unica ed entusiasmante per tutti gli ascoltatori disposti a superare le barriere e i tabù che troppo spesso caratterizzano il mondo della musica popolare. Aprile - Maggio 2015 Discografia: Guida all’ascolto Soft machine - Soft machine (1968) Una premessa importante: la Scena di Canterbury fu per sei Soft machine – Two (1969) entusiasmanti anni il fulcro della musica d’avanguardia inglese, Soft machine – Third (1970) proponendo opere spesso di non semplice fruizione che richiedono più Soft machine – Fourth (1971) di un ascolto per essere godute pienamente.
    [Show full text]
  • The Songs of the Beggar's Opera
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 The onS gs of The Beggar's Opera Carolyn Anfinson Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Anfinson, Carolyn, "The onS gs of The Beggar's Opera" (1966). Masters Theses. 4265. https://thekeep.eiu.edu/theses/4265 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institutionts library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because Date Author THE SONGS OF THE BEGGAR'S OPERA (TITLE) BY Carolyn Anfinson THESIS SUBMIITTD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF M.S.
    [Show full text]
  • Manx Traditional Dance Revival 1929 to 1960
    ‘…while the others did some capers’: the Manx Traditional Dance revival 1929 to 1960 By kind permission of Manx National Heritage Cinzia Curtis 2006 This dissertation is submitted in partial fulfilment of the degree of Master of Arts in Manx Studies, Centre for Manx Studies, University of Liverpool. September 2006. The following would not have been possible without the help and support of all of the staff at the Centre for Manx Studies. Special thanks must be extended to the staff at the Manx National Library and Archive for their patience and help with accessing the relevant resources and particularly for permission to use many of the images included in this dissertation. Thanks also go to Claire Corkill, Sue Jaques and David Collister for tolerating my constant verbalised thought processes! ‘…while the others did some capers’: The Manx Traditional Dance Revival 1929 to 1960 Preliminary Information 0.1 List of Abbreviations 0.2 A Note on referencing 0.3 Names of dances 0.4 List of Illustrations Chapter 1: Introduction 1.1 Methodology 1 1.2 Dancing on the Isle of Man in the 19th Century 5 Chapter 2: The Collection 2.1 Mona Douglas 11 2.2 Philip Leighton Stowell 15 2.3 The Collection of Manx Dances 17 Chapter 3: The Demonstration 3.1 1929 EFDS Vacation School 26 3.2 Five Manx Folk Dances 29 3.3 Consolidating the Canon 34 Chapter 4: The Development 4.1 Douglas and Stowell 37 4.2 Seven Manx Folk Dances 41 4.3 The Manx Folk Dance Society 42 Chapter 5: The Final Figure 5.1 The Manx Revival of the 1970s 50 5.2 Manx Dance Today 56 5.3 Conclusions
    [Show full text]
  • C:\Documents and Settings\Chris Dunkerley\My Documents\Excel
    CORNISH ASSOCIATION OF NSW - MEMBERS LENDING & RESEARCH LIBRARY - Jan 2008 Search using Edit, Find in this page (Firefox) For more information or to borrow contact Eddie or Eileen Lyon on: (02) 9349 1491 or Email: [email protected] Id No BOOK NAME AUTHOR DESCRIPTION 1 Yesterday's Town: St Ives Noall Cyril Book - illustrated history 2 King Arthur Country in Cornwall Duxbury & Williams Book - information 3 Story of St Ives, The Noall Cyril Book 4 St Ives in the 1800's Laity R.P. Book 5 Cornish Surnames, A Handbook of G. Pawley White Book 6 Cornish Pioneers of Ballarat Dell & Menhennet Book 7 Kernewek for Kids Franklin Sharon Book - Copper Triangle Puzzles, Stories 8 Australian Celtic Journal Vol.One Darlington J Journal 9 Microform Collection Index (OUT OF CIRCULATION) Aust. Soc of Genealogy Journal 10 Where Now Cousin Jack? Hopkins Ruth Book 11 Cornwall - A Genealogical Bibliography Raymond Stuart Journal LOST 12 Penwith - The Illustrated Past Noall Cyril Book 13 St Ives, The Book of Noall Cyril Book - pictorial history LOST IN FIRE 14 Cornish Names Dexter T.F.G. Book 15 Scilly and the Scillonians Read A.H. & Son Book - pictorial history 16 Shipwrecks at Land's End Larn & Mills Book 17 Minerals, Rocks and Gemstones in Cornwall Rogers Cedric Book - collector’s guide 18 King Arthur, Tintagel Castle & Celtic Monuments Tintagel Parish Council Book 19 Shipwrecks on the Isles of Scilly Gibson F.E. Book 20 Which Francis Symonds Symonds John Symonds history - Cornwall and Australia 21 St Ives, The Beauty of Badger H.G. Illustration Booklet 22 Little Land of Cornwall, The Rowse A.L.
    [Show full text]
  • Nelda Reyes-Resume Ryanartists
    Nelda Reyes SAG/AFTRA Hair: Dark brown Eyes: Brown Height: 5” 3’ TV/FILM “Not one more” Isabel Heather Dominguez dir./Art Institute of Portland Grimm - Episode # 111 “Tarantella” Maid Peter Werner /NBC COMMERCIAL/INDUSTRIAL *Complete list available upon request “OCDC Spanish & English PSA” Nelda Reyes Rex-post “SEIU Orientation and Safety Video” HCA Branch Ave. Productions “Wired MD Patient Educational Videos” Health Expert Krames Video Solutions “American Red Cross EMR” Health Officer Erica Portfolio Productions “Depression Relapse”-ORCAS Carmen Moving Images VOICEOVER AND DUBBING *Complete list available upon request “Kaiser Permanente Diabetes Bilingual Campaign” Patti The Fotonovela Production Company “Abuelo -Ac tive Living” -Multnomah County Health Univision Portland Mom Department. “CISCO Online Support website ” Narrator Intersect Video THEATER *Complete list available upon request CORRIDO CALAVERA Concepcion, INC Rep, Rosario Miracle Theatre Group/Lakin Valdez dir. DANCE FOR A DOLLAR Gloria Miracle Theatre Group/Daniel Jaquez dir. BLOOD WEDDING Criada, Luna, Niña 1 Miracle Theatre Group/Olga Sanchez dir LA CARPA CALAVERA Nina Miracle Theatre Group/Philip Cuomo dir. ACTING AND MOVEMENT TRAINING Acting, Scene Work and Movement Moscow Art Theatre School and IATT, Harvard University M. Lovanov/ Alla Prokoskaya/ Oleg Topolyanskiy /N. Fedorovna Acting: Process, Classical, Experimental styles Devon Allen. Portland State University. MA. In Theatre Arts Script Analysis and Dramaturgy Karin Magaldi. Portland State University. MA. In Theatre Arts Clown Fausto Ramirez (Mexico) and Les Matapestes (France) Alexander, Decroux, Lecoq, Contact Improv. Diplomado de Teatro del Cuerpo (Mexico City) Diploma for Instructors in Kundalini Yoga IKYTA/ Yoga Alliance Empty Hand Combat and basic weaponry Anthony De Longis (USA) Shelley Lipkin Acting for the Camera (USA) Professional Training in Aerial Arts The Circus Project (US A) Pre-professional Classic Dance Program Ballet Nacional de Cuba/Gloria Campobello Co.
    [Show full text]
  • Trance As Artefact: De-Othering Transformative States with Reference to Examples from Contemporary Dance in Canada
    Trance as Artefact: De-Othering transformative states with reference to examples from contemporary dance in Canada Submitted in fulfilment of the requirements of the Degree of Doctor of Philosophy Department of Dance Studies, University of Surrey August 1st, 2007 Bridget E. Cauthery © by Bridget E. Cauthery (2007) ABSTRACT Reflecting on his fieldwork among the Malagasy speakers of Mayotte in the Indian Ocean, Canadian anthropologist Michael Lambek questions why the West has a “blind spot” when it comes to the human activity of trance. Immersed in his subject’s trance practices, he questions why such a fundamental aspect of the Malagasy culture, and many other cultures he has studied around the world, is absent from his own. This research addresses the West’s preoccupation with trance in ethnographic research and simultaneous disinclination to attribute or situate trance within its own indigenous dance practices. From a Western perspective, the practice and application of research suggests a paradigm that locates trance according to an imperialist West/non-West agenda. If the accumulated knowledge and data about trance is a by-product of the colonialist project, then trance may be perceived as an attribute or characteristic of the Other. As a means of investigating this imbalance, I propose that trance could be reconceived as an attribute or characteristic of the Self, as exemplified by dancers engaged in Western dance practices within traditional anthropology’s “own backyard.” In doing so, I examine the degree to which trance can be a meaningful construct within the cultural analysis of contemporary dance creation and performance. Through case studies with four dancer/choreographers active in Canada, Margie Gillis, Zab Maboungou, Brian Webb and Vincent Sekwati Mantsoe, this research explores the cultural parameters and framing of transformative states in contemporary dance.
    [Show full text]
  • Europeanfolkdanc006971mbp.Pdf
    CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life.
    [Show full text]
  • From the Black Death to Black Dance: Choreomania As Cultural Symptom
    270 Cambridge Journal of Postcolonial Literary Inquiry, 8(2), pp 270–276 April 2021 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/pli.2020.46 From the Black Death to Black Dance: Choreomania as Cultural Symptom Ananya Jahanara Kabir Keywords: choreomania, imperial medievalism, Dionysian revivals, St. John’s dances, kola sanjon Paris in the interwar years was abuzz with Black dance and dancers. The stage was set since the First World War, when expatriate African Americans first began creating here, through their performance and patronage of jazz, “a new sense of black commu- nity, one based on positive affects and experience.”1 This community was a permeable one, where men and women of different races came together on the dance floor. As the novelist Michel Leiris recalls in his autobiographical work, L’Age d’homme, “During the years immediately following November 11th, 1918, nationalities were sufficiently con- fused and class barriers sufficiently lowered … for most parties given by young people to be strange mixtures where scions of the best families mixed with the dregs of the dance halls … In the period of great licence following the hostilities, jazz was a sign of allegiance, an orgiastic tribute to the colours of the moment. It functioned magically, and its means of influence can be compared to a kind of possession.
    [Show full text]
  • ENGLISH FOLK-SONG Primitive Song That Which Appealed in the Highest Degree
    EN G L ISH FO L K- SO N G AN D DAN CE FRANK ISIDS O N M " A NY) M ARY NEAL C am b ridge at th e U n ive rsity Press C ON T ENTS ENGLISH FOL K -SONG PAG E INTRODUCTION E I . D FINITION T HE ORIGIN OF FOLK- SONG T HE CANTE-FABLE T HE CON STRUCTION OF FOLK - MU S IC E F - V . CHANG S THAT OCCUR IN OLK MU SIC T HE - ITS S Q UALITY OF FOLK SONG, AND DIFFU ION T HE MOVEM ENT FOR COLLECTING E NGLI S H FOLK - SONG T H - VIII . E NOTING OF FOLK MU SIC T F - III. HE DIFFERENT C LASSES OF OLK SONG x . T HE NARRATIVE BALLAD E S S S x1 . LOV SONG AND MY TIC SONG T E XII. H PASTORAL x m . DRINKING SONGS AND HUMOROUS SON G S XIV . HIGHWAYMAN AND POACHER SONG S x v. SOLDIER SONG S f S EA S XVI . SONG vi ENGLISH FOLK- SONG AND DANCE PAG E E XVII . PR SSGANG SONG S X V III . HUNTING AND SPORTING SONG S XIX . SONG S OF L ABOUR TRADITIONAL CAROLS ’ - XXI . CHILDR EN S SINGING GAM ES XXII . T HE BALLAD SH EET AND SONG GARLAND BIBLIOGRAPHY ENGLISH FOLK -DANCE INTRODUCTION T - I . T HE MORRIS DANCE o DAY TUN ES MU S ICAL IN STRUM ENTS T HE DRES S E S A v . EXTRA CHARACT R T HE SWORD DANCE T HE FURRY DANC E VIII . T HE COUNTRY DANCE T HE PRESENT-DAY REVIVAL OF THE FOLK I)ANCE CONCLU SION S BIBLIOGRAFHY LI S T O F I L LU S T RATI ONS FACIN G PAG E - - - S E S AT IN T HE S .
    [Show full text]
  • Pynchon's Sound of Music
    Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage.
    [Show full text]
  • The Modernization of Three Korean Villages, 1951-1981: an Illustrated Study of a People and Their Material Culture
    f /Z at\ The Modernization of Three Korean Villages, 1951-1981: An Illustrated Study of a People and Their Material Culture EUGENE I. KNEZ SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY • NUMBER 39 SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through the years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Smithsonian Contributions to Anthropology Smithsonian Contributions to Botany Smithsonian Contributions to the Earth Sciences Smithsonian Contributions to the Marine Sciences Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology Smithsonian Folklife Studies Smithsonian Studies in Air and Space Smithsonian Studies in History and Technology In these series, the Institution publishes small papers and full-scale monographs that report the research and collections of its various museums and bureaux or of professional colleagues in the world of science and scholarship. The publications are distributed by mailing lists to libraries, universities, and similar institutions throughout the world. Papers or monographs submitted for series publication are received by the Smithsonian Institution Press, subject to its own review for format and style, only through departments of the various Smithsonian museums or bureaux, where the manuscripts are given substantive review.
    [Show full text]
  • Twenty-Three Tales
    Twenty-Three Tales Author(s): Tolstoy, Leo Nikolayevich (1828-1910) Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Description: Famous for his longer novels, War and Peace and Anna Karenina, Leo Tolstoy displays his mastery of the short story in Twenty-Three Tales. This volume is organized by topic into seven different segments. Part I is filled with stories for children, while Part 2 is filled with popular stories for adult. In Part 3, Tolstoy discreetly condemns capitalism in his fairy tale "Ivan the Fool." Part 4 contains several short stories, which were originally published with illustrations to encourage the inexpensive reproduction of pictorial works. Part 5 fea- tures a number of Russian folk tales, which address the themes of greed, societal conflict, prayer, and virtue. Part 6 contains two French short stories, which Tolstoy translated and modified. Finally, Part 7 contains a group of parabolic short stories that Tolstoy dedicated to the Jews of Russia, who were persecuted in the early 1900©s. Entertaining for all ages, Tolstoy©s creative short stories are overflowing with deeper, often spiritual, meaning. Emmalon Davis CCEL Staff Writer Subjects: Slavic Russian. White Russian. Ukrainian i Contents Title Page 1 Preface 2 Part I. Tales for Children: Published about 1872 5 1. God Sees the Truth, but Waits 6 2. A Prisoner in the Caucasus 13 3. The Bear-Hunt 33 Part II: Popular Stories 40 4. What Men Live By (1881) 41 5. A Spark Neglected Burns the House (1885) 57 6. Two Old Men (1885) 68 7. Where Love Is, God Is (1885) 85 Part III: A Fairy Tale 94 8.
    [Show full text]