DOCSLIB.ORG

COLOR FRONT COVER COLOR PAGE 2: Festival COLOR PAGE 3: CG on the Town COLOR DEER CREEK

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
COLOR FRONT COVER COLOR PAGE 2: Festival COLOR PAGE 3: CG on the Town COLOR DEER CREEK COLOR FRONT COVER COLOR PAGE 2: Festival COLOR PAGE 3: CG on the Town COLOR DEER CREEK Welcome iv WELCOME TO OUR 24TH YEAR! In this catalog you will find a year's worth of events and activities that will enrich your life. Common Ground on the Hill is a traditional, roots-based music, arts and humanities organization founded in 1994, offering quality learning experiences with master musicians, artists, dancers, writers, filmmakers and educators while exploring cultural diversity in search of common ground among ethnic, gender, age, and racial groups. The Baltimore Sun has compared Common Ground on the Hill to the Chautauqua and Lyceum movements, precursors to this now venerable program. Our world is one of immense diversity. As we explore and celebrate this diversity, we find that what we have in common with one another far outweighs our differences. Our common ground is our humanity, often best expressed by artistic traditions that have enriched human experience through the ages. We invite you to join us in searching for common ground as we assemble around the understanding that we can improve both ourselves and our world by searching for the common ground in one another, through the lens of our artistic traditions. In a world filled with divisive, negative news, we seek to discover, create and celebrate good news. Walt Michael, Founder & Executive Director L to R: Executive Director Walt Michael, artist Carol Siegel, 2017 Robert H. Chambers Award winner Guy Davis, artist Robin Tillery “You owe it to yourself to attend one of the sessions… Common Ground on the Hill is a cornucopia of artistic expression.” ~ The Baltimore Sun Cover: The Kruger Brothers, recipients of the 2018 Robert H. Chambers Award for Excellence in the Traditional Arts Welcome 1 CONTENTS 24th Annual Common Ground on the Hill Overview ............................................................ 3 Traditions Week 1 (List of Classes and Events by Category ) .................................................. 4 Schedule-at-a-Glance....................................................................................................................... 5 Special Gatherings .......................................................................................................................... 6 Distinctive Lectures, Listening, Film ................................................................................................. 6 Literary & Performance Arts ........................................................................................................... 7 Music .............................................................................................................................................. 8 Recording ...................................................................................................................................... 11 Dance ........................................................................................................................................... 11 Human Arts ................................................................................................................................... 12 Youth Program ............................................................................................................................. 12 Visual Arts ..................................................................................................................................... 13 Traditions Week 2 (List of Classes and Events by Category ) ................................................ 16 Schedule-at-a-Glance..................................................................................................................... 17 Special Gatherings ........................................................................................................................ 18 Distinctive Lectures, Listening, Film ............................................................................................... 18 Literary & Performance Arts ......................................................................................................... 19 DCBU Bluegrass & Old-Time Camp ................................................................................................. 20 Music ............................................................................................................................................ 20 Dance ............................................................................................................................................ 23 Human Arts ................................................................................................................................... 24 Youth Program ............................................................................................................................. 25 Visual Arts ..................................................................................................................................... 25 Traditions Week 3 (List of Classes and Events by Category ) ................................................ 30 Schedule-at-a-Glance..................................................................................................................... 31 Special Gatherings ........................................................................................................................ 32 Distinctive Lectures, Listening, Film ............................................................................................... 32 Literary & Performance Arts ......................................................................................................... 33 Music ............................................................................................................................................ 33 Dance ............................................................................................................................................ 38 Human Arts ................................................................................................................................... 38 Youth Program ............................................................................................................................. 39 Visual Arts ..................................................................................................................................... 39 Evening Concerts and Events ............................................................................................... 42 General Information ........................................................................................................... 43 Earning Academic Credit ............................................................................................................... 46 Common Ground on the Hill “Village” ................................................................................. 47 Sponsors and Supporters..................................................................................................... 48 Registration Forms ........................................................................................................ 49-51 Robert H. Chambers Award ................................................................................................. 52 Fine Arts & Crafts Award for Excellence .............................................................................. 53 List of Instructors and Courses ............................................................................................ 54 Photos: Pamela Zappardino, Randall Gornowich, and individual artists/agents/participants. 2 2018 Common Ground on the Hill 24TH ANNUAL COMMON GROUND ON THE HILL OVERVIEW Traditions Weeks I, II & III at McDaniel College Workshops & Events ~ June 24-29, July 1-6 and July 8-13, 2018 Common Ground on the Hill offers three separate Traditions Weeks of courses, performances and activities. Full-time enrollment entitles you to participate in all courses, activities and evening events throughout the week you are attending. Commuters and part-time students are welcome and may select individual evening events, which are also open to the public. We encourage families to attend Common Ground on the Hill. During Traditions Weeks there is an extensive youth curriculum, “World Village.” For full residential students, arrival and registration is on Sunday afternoon (June 24, July 1, or July 8) at the McDaniel College campus in Westminster, MD, followed by a 4:30 PM fine arts reception, Sunday supper, a short orientation meeting and informal gatherings. Both residential and commuter students should attend the orientation and are invited to enjoy the activities of the evening. Monday (June 25, July 2, or July 9) is the first day of class. Each evening includes a concert, drama, film or lecture and on select evenings there are dances and jams immediately following the concert. All participants are encouraged to join in the various activities that will happen spontaneously during the week throughout the campus. The 21st Annual Common Ground on the Hill Festival ~ July 14, 2018 from 10 AM-9:00 PM The Common Ground on the Hill Festival is held at the nearby historic 140-acre Carroll County Farm Museum. This Saturday event features a host of Traditions Weeks musicians and artists, as well as featured performers including the Kruger Brothers, Professor Louie & the Crowmatix, Connla (Ireland), Urban Artistry, Pete Clark (Scotland), Walt Michael & Co., David Roth, Sparky & Rhonda Rucker, Andy Cohen, Bing Futch, Josh Hisle, the Vanavers
Load more

Recommended publications
  • The Mystery of Pipe Acoustics
    The mystery of pipe acoustics FRANTIŠEK KUNDRACIK Comenius University in Bratislava, Faculty of Mathematics, Physics and Informatics, Department of Experimental Physics Introduction Students at school are not given a lot of information about sound formation in pipes. Explanation is reduced to the description of the standing sound wave in the pipe and importance of the sharp edge, which is struck by the airflow. The aim of this article is to answer in more detail three fundamental questions about the sound formation in pipes: 1. Why is the area around the edge so important and how exactly does a clear and continuous tone arise? 2. How can we influence a tone height by the force of blowing or by covering the end hole? 3. Why does the fujara have three holes and why are pipes with six holes also popular? 1. Formation of a continuous tone in a pipe Tone in a pipe arises because of the periodic reflection of pressure wave at the ends of the pipe. Unlike the reflection from the covered end, in case of the reflection from the open end (or from the end with a window) the wave reflects in anti-phase and part of it leaves the pipe. To get a continuous tone, we must constantly supply energy to the reflecting wave, just like we supply energy to a swing by pushing it. Unlike the swing where our reflexes are faster than its motion, the sound wave motion is too quick for our reflexes, which means that blowing air into the pipe has to be automated.
    [Show full text]
  • FSGW Midwinter Festival
    Volume 49, Number 5 NEWSLETTERwww.fsgw.org January 2013 FSGW Midwinter Festival Takoma Park Middle School 7611 Piney Branch Rd., Silver Spring, MD Saturday, February 2, 2013 12 noon–10:30 pm Hooray! It’s time for the FSGW Mini-Fest—dancers and dumbeks, washboards and waltzing, tales and the tango, blues and ballads, morris and more! With two all-day dance tracks, and seven workshop and performance sites, plus unscheduled hallway shenanigans, there’s no shadow of a doubt that it’ll cure your winter blues!! Daytime Performance/Workshops. Check fsgw.org for updates; as of December 16, the schedule is as follows (see grid on page 27): In the Cafetorium, fabulous music programmed by Charlie Baum— Shenandoah Run at noon. Then at 1, The Chro- matics, an a cappella group with a distinctive scientific bent, followed by the versatile Capitol Hillbillies and by Sarenica’s rousing tamburitza music. Kensington Station is next, with folk music of the 60s. And lastly, the Bumper Jacksons with traditional jazz and Appalachian hollers. (Food will also be available in the Cafetorium, from noon until 7:30 pm.) The “Roots Americana” room, programmed by Emily Hilliard, opens with a Shape Note Singing, followed by a “Party at Ralph’s House” featuring Jeff Place, Smithsonian Folkways Archivist. At 2, ballads and traditional singing, and at 3 FSGW explores Foodways Traditions, a panel discussion of historic and current foods and traditions with folklorists and food producers. Also, discover what exciting new plans are developing at FSGW in the realm of food lore. End the day here with string-band music and an open jam.
    [Show full text]
  • 2016 Workshop Descriptions (Final Version)
    ResoSummit 2016 Workshops FINAL VERSION Overview and key facts: Over the course of ResoSummit, you will have the opportunity to participate in ten workshop sessions. All sessions are 75 minutes long, except for the final session, which is two hours long, giving you the opportunity to study one topic in more depth. Choosing your workshops: You send us your choices in advance by taking the online workshop survey. Since workshops are size-controlled, you will be selecting a #1 choice plus at least one alternate for each of the 10 workshop sessions. Or you have the option of marking more than one workshop as “of equal interest,” meaning you would be equally happy with any of the ones so marked. Workshops are not “walk in” – we assign you to specific classes to make sure classes are kept within the target size, and to make sure that students in the class are at the target level(s). We ask faculty to teach each class at the indicated level – not the lowest common denominator – and to conduct the workshop as closely as possible to the workshop description. This enables you to make the best possible workshop choices, and also reduces the problem of a class going off course because of off-topic questions or requests. The workshop descriptions should give you a good sense of whether a workshop is likely to suit you – including the subject matter, teaching style, and the level at which the class will be taught. Note that some workshops are structured to involve a high level of participation (student playing), while others are less participatory.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • Intraoral Pressure in Ethnic Wind Instruments
    Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure.
    [Show full text]
  • 1St EBU Folk and Traditional Music Workshop
    TO DATE Folk / Traditional Music Producers 22 March 2017 EBU Members and Associates Script Euroradio Folk Music Spring and Easter Project 2017 Compilation of 22 EBU Members’ Countries Offered to EBU Members and Associates The music will be available from 22 March for downloading from M2M 1. Belarus, BTRC 12. Hungary, MTVA 2. Bulgaria, BNR 13. Ireland, RTÉ 3. Croatia, HRTR 14. Latvia, LR 4. Cyprus, CyBC 15. Lithuania, LRT 5. Czech Republic, CR 16. Moldova, TRM 6. Estonia, ERR 17. Poland, PR 7. Finland, YLE 18. Russia, RTR-Radio Russia 8. Former Yugoslav Republic of Macedonia, MKRTV 19. Serbia, RTS 9. France, Radio France Internationale (RFI) 20. Slovakia, RTVS 10. Germany, ARD/MDR 21. Sweden, SR 11. Greece, ERT 22. Ukraine, UA:PBC IMPORTANT The entries are compiled in the alphabetical order of EBU Member countries. The attached script details the content of each contribution, not revised by the EBU. Each sound file is added to the compilation in its original version as received from participants. Therefore, the level of the recordings varies, requiring further adjusting. MUS REF. Artists Music Duration FM/17/03/03/01 Artists from 22 EBU Members' countries, 99'28 CONDITIONS: No deadline, unlimited number of broadcasts in whole or in part. Free of costs, except the usual authors' rights declared and paid to national collecting societies. Please notify the offering organization of your broadcast date. Some artists’ photos received from contributing organizations are available in MUS. For more information, please contact: Aleš Opekar Producer, Czech Radio e-mail : [email protected], tel. +420 2 2155 2696 or Krystyna Kabat, EBU, e-mail: [email protected] EUROPEAN BROADCASTING UNION L’Ancienne-Route 17A Tel.
    [Show full text]
  • “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
    “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve.
    [Show full text]
  • The Roots Report: Beat the Heat with Cool Shows
    The Roots Report: Beat the Heat with Cool Shows Okee dokee folks … It’s summer. I would be remiss if I didn’t reiterate my feelings about it. I hate summer. I am sorry. I know many of you folks like summer. I am not a fan of the heat and humidity. Fortunately, we are more than halfway through. Music makes the summer easier to deal with – for me anyway. There are still a lot of summer shows to catch while the weather is warm, though sometimes “warm” can be a bit of an understatement. Onward. The Downtown Sundown Series The Downtown Sundown Series has been steadily gaining a solid audience, mostly by word of mouth. Every show brings more folks who are amazed by the talent of the performers and the beauty of Roger Williams National Memorial. Now in its third year, this music series brings free music into downtown Providence two Saturdays per month. Already this season, performers such as WS Monroe, Billy Mitchell, Malyssa Bellarosa, Kala Farnham, Mark Cutler, Heather Rose, Tracie Potochnik, Bob Kendall, Jesse Liam and Jack Gauthier, and others have graced the park stage with their wonderful music. The middle lawn at the Memorial is the perfect spot for a sundown show. The music starts at 7 pm and continues until 9:30 pm, and four performers are featured at each show. The audience members sit back in lawn chairs, lie on blankets or directly on the grass and enjoy some of the best singer- songwriters from the area. Picnickers are welcomed and encouraged.
    [Show full text]
  • 'Lúčnica – Slovak National Folklore Ballet' in Melbourne, 2007
    Performing Abroad: ‘Lúčnica – Slovak National Folklore Ballet’ in Melbourne, 2007 Diane Carole Roy A thesis submitted for the degree of Doctor of Philosophy of The Australian National University 3 August 2011 DECLARATION I, Diane Carole Roy, hereby declare that, except where otherwise acknowledged in the customary manner, and to the best of my knowledge and belief, this work is my own, and has not been submitted for a higher degree at any other university or institution. ………………………………….. ii DEDICATION Jeseñ na Slovensku Vonku je ticho, všade je šero Vo vnútri hmly vidím priatelských duchov Biele brezy so zlatými vlasmi Okolo ich nôh, zlaté koberec Táto krajina je moja sestra Niekedy rušová, niekedy pokojná Niekedy stará, niekedy mladá Ďakujem jej Di Roy 2003 Autumn in Slovakia Outside is quiet, all around is dim, Yet inside the fog I see friendly ghosts White birches with golden hair Around their feet a golden carpet This country is my sister Sometimes turbulent, sometimes peaceful Sometimes old, sometimes young I thank her iii ACKNOWLEDGEMENTS I would like to thank the following people, without whom this work could not have been achieved: Dr Stephen Wild, for giving me the freedom to follow my lights, and for his support and friendship; Dr Johanna Rendle-Short, for her encouragement in acquiring knowledge and skills in Conversation Analysis; Dr Jozef Vakoš, who generously accepted me into the Trenčín Singers’ Choir, enabling me to be part of the choral community in Trenčín; my friends in the Trenčín Singers’ Choir, who shared their songs and joy in their traditions, and who showed me why by taking me away from the track trodden by tourists; Dr Hana Urbancová at the Institute of Musicology, and Dr Gabriela Kilánová at the Institute of Ethnology, at the Slovak Academy of Sciences, who generously gave me time, consultation and literature; Ing.
    [Show full text]
  • Tradition and Innovation in Irish Instrumental Folk Music
    TRADITION AND INNOVATION IN IRISH INSTRUMENTAL FOLK MUSIC by ANDREW NEIL fflLLHOUSE B.Mus., The University of British Columbia, 1990 B.Ed., The University of British Columbia, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2005 © Andrew Neil Hillhouse, 2005 11 ABSTRACT In the late twentieth century, many new melodies were composed in the genre of traditional Irish instrumental music. In the oral tradition of this music, these new tunes go through a selection process, ultimately decided on by a large, transnational, and loosely connected community of musicians, before entering the common-practice repertoire. This thesis examines a representative group of tunes that are being accepted into the common- practice repertoire, and through analysis of motivic structure, harmony, mode and other elements, identifies the shifting boundaries of traditional music. Through an identification of these boundaries, observations can be made on the changing tastes of the people playing Irish music today. Chapter One both establishes the historical and contemporary context for the study of Irish traditional music, and reviews literature on the melodic analysis of Irish traditional music, particularly regarding the concept of "tune-families". Chapter Two offers an analysis of traditional tunes in the common-practice repertoire, in order to establish an analytical means for identifying traditional tune structure. Chapter Three is an analysis of five tunes that have entered the common-practice repertoire since 1980. This analysis utilizes the techniques introduced in Chapter Two, and discusses the idea of the melodic "hook", the memorable element that is necessary for a tune to become popular.
    [Show full text]
  • Dissertation Final Submission Andy Hillhouse
    TOURING AS SOCIAL PRACTICE: TRANSNATIONAL FESTIVALS, PERSONALIZED NETWORKS, AND NEW FOLK MUSIC SENSIBILITIES by Andrew Neil Hillhouse A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Andrew Neil Hillhouse (2013) ABSTRACT Touring as Social Practice: Transnational Festivals, Personalized Networks, and New Folk Music Sensibilities Andrew Neil Hillhouse Doctor of Philosophy Graduate Department of Music University of Toronto 2013 The aim of this dissertation is to contribute to an understanding of the changing relationship between collectivist ideals and individualism within dispersed, transnational, and heterogeneous cultural spaces. I focus on musicians working in professional folk music, a field that has strong, historic associations with collectivism. This field consists of folk festivals, music camps, and other venues at which musicians from a range of countries, affiliated with broad labels such as ‘Celtic,’ ‘Nordic,’ ‘bluegrass,’ or ‘fiddle music,’ interact. Various collaborative connections emerge from such encounters, creating socio-musical networks that cross boundaries of genre, region, and nation. These interactions create a social space that has received little attention in ethnomusicology. While there is an emerging body of literature devoted to specific folk festivals in the context of globalization, few studies have examined the relationship between the transnational character of this circuit and the changing sensibilities, music, and social networks of particular musicians who make a living on it. To this end, I examine the career trajectories of three interrelated musicians who have worked in folk music: the late Canadian fiddler Oliver Schroer (1956-2008), the ii Irish flute player Nuala Kennedy, and the Italian organetto player Filippo Gambetta.
    [Show full text]
  • 5EHC 2020 Awards Recipients
    July 16, 2020 FOR IMMEDIATE RELEASE Contact: Rosanne Royer, Awards Chair (503) 871-1023 cell [email protected] Ethnic Heritage Council announces Recipients of the 2020 Annual EHC Awards to Ethnic Community Leaders and Artists The Ethnic Heritage Council (EHC) is proud to announce this year’s award recipients, to be honored at EHC’s 40th Anniversary celebration. The special event is rescheduled to Spring 2021, due to the COVID-19 pandemic, date to be determined. The awards program with annual meeting is EHC’s major annual event. The award recipients represent extraordinary achievements and contributions to the region’s cultural and community life. We invite you to read their biographies below. The 2020 EHC Award Recipients Rita Zawaideh Bart Brashers Spirit of Liberty Award Aspasia Phoutrides Pulakis Memorial Award Randal Bays Emiko Nakamura Bud Bard Co-Recipient Co-Recipient EHC Leadership Gordon Ekvall Tracie Gordon Ekvall Tracie & Service Award Memorial Award Memorial Award Rita Zawaideh 2020 “Spirit of Liberty” Award Eestablished in 1986 and given to a naturalized citizen who has made a significant contribution to his or her ethnic community and ethnic heritage, as well as to the community at large. For decades Rita Zawaideh has been an advocate and change-maker on behalf of Middle Eastern and North African communities in the United States and around the world. She is a “one-person community information center for the Arab community,” according to the thousands who have benefited from her activism and philanthropy. “The door to Rita’s Fremont office is always open,” says Huda Giddens of Seattle’s Palestinian community, adding that Rita's strength is her ability to see a need and answer it.
    [Show full text]