DOCSLIB.ORG

How the FIDDLE FLOWS Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
How the FIDDLE FLOWS Contents How the FIDDLE FLOWS contents Synopsis . 3 Production Notes . 4 Key Bios . 6 Credits including Featured Music . 10 Awards and Recognition . 14 Quotes from the Documentary . 15 Quotes about the Documentary . 16 Contact Information . 17 synopsis It's high summer in southern Saskatchewan and a rollicking tune fills the night. Four master Metis fiddlers play to the tapping toes of a lively crowd. How the Fiddle Flows follows Canada's great rivers west along the fur-trading route of the early Europeans. The newcomers introduced the fiddle to the Aboriginal people they intermarried with along the way. A generation later, their mixed-blood offspring would blend European folk tunes with First Nations rhythms to create a rich and distinct musical tradition. From the Gaspé Peninsula north to Hudson Bay and west to the Prairies, How the Fiddle Flows reveals how a distinctive Metis identity and culture were shaped over time. Featuring soaring performances by some of the best-known fiddlers and step dancers in the country and narrated by award-winning actor Tantoo Cardinal. a one-hour documentary special 3 production notes Growing up in central Alberta, Metis filmmaker Gregory Coyes knew that the fiddle flows from your ears to your feet. "Whenever the fiddle came out at our house, somebody started dancing. Every time!" he recalls with a chuckle. It was in the family kitchen, with his grandmother and mother dancing along, that Coyes learned to accompany his father's fiddle on the guitar. "It always happens in the kitchen - this is definitely kitchen music." These homespun musical traditions happened in many Metis homes, but it was later in life that Coyes would discover just how far the fiddle had flowed to get to his family's kitchen. At a Quebec festival called "Le Grande Rencontre" (The Big Reunion) in 1996, Coyes was amazed to hear the folk melodies he was raised on coming out of fiddles and accordions reared thousands of kilometres away from his prairie home. "I was dancing, and suddenly I realized, this is the same rhythm, the same spirit- there's a connection here and it should be celebrated." And with that spark of awareness flowing from his ears to his feet to his heart, this documentary began its journey. Coyes approached renowned Vancouver arts documentary producer Leigh Badgley. She got the funding flowing with energetic Edmonton producer Ava Karvonen, winning a coveted BRAVO! license, bringing the National Film Board onboard as co- producing partners and securing additional licenses with APTN, SCN and ACCESS and the Knowledge Network. Meanwhile Coyes began investigating the pockets of Metis culture across Canada. Coming across a vivid Frances Hopkins painting of Metis Voyageurs running the rapids in their big canoe, Coyes was inspired to let Canada's river system drive the film. "So much of the early migration was on the rivers. It's a romantic, historic connection, and it's how the tunes moved," he says, comparing the way fish spawn with the way melodies were spawned along those same river routes in the days of the fur trade. 4 production notes The style of the show developed in a similarly organic way for Coyes. "It's all about rhythm, the rhythm of the paddlers, of the Native drums, of the feet dancing - in Quebec the music is called 'la musique de la terre' - music of the earth." This music of the earth formed the roots of Metis culture that grew like the trees that sprung up and shaded Metis settlements along the banks of the rivers. These communities later became the towns and family names of Canada. Coyes wanted to highlight these forgotten Metis roots. For example, Moose Jaw, Saskatchewan got its name from a broken down Metis caravan. It was originally christened in French, and translates as "The place where we fixed the cart wheel with the moose jaw." "There are strong roots that connect us," Coyes explains. "But they've been severed by the English language of law. Nobody speaks French in the west, but we have names like L'Hirondelle, Dorian, Arcand - there is a lot of work to be done connecting us to our Eastern roots." The production took on this task quite literally, beginning the shoot last summer in Quebec and journeying west through 12 cities in a span of 27 days to retrace the flow of Metis culture to Alberta. Coyes felt the echoes of his history in his role as filmmaker. "In Metis and Native society, the storyteller was nomadic, going from community to community, bringing information. Stories evolved as they traveled, and filmmaking is an extension of that oral tradition." Broadcasting the story of Metis culture was also important for Canadians in general. "This is truly Canadian history, but you're not going to find it in the textbooks," Coyes enthuses. "It enriches all of us to know it." So the music that brings Coyes' family together, the same music that connects the larger Metis family, now brings Canada together; inviting us back for a little fiddle music and surely some dancing on that well-worn kitchen floor. 5 key bios Leigh Badgley Producer A Vancouver-based producer whose films cover the globe, Leigh has a special flair for cultural documentaries. Her one-hour performing arts piece for CBC and A&E, True Prince: Vladimir Malakhov won a slew of prestigious awards including best arts documentary at the Hot Docs Festival 1997, and has sold around the world. Her documentary-producing credits include the one- hour Icetime for Old Guys for CTV, Knowledge Network and SCN (1999), the one-hour Voices of Ayacucho, Peru, for Vision TV, CFMT, Knowledge Network and SCN (1998); the one-hour performance documentary Inside Italy: Paul Horn & Friends, for Bravo!, Knowledge Network and CFCF (1997); the one-hour Sacred Waters of Cambodia, for Vision TV, Knowledge Network, CFCF, and CFRN (1997) and Quiet Heroes: Story of a Forgotten Squadron, a one-hour historical documentary for Vision TV, Knowledge Network, CFCF, CFCN, and WTN (1995). Her associate producer credits include Opre Roma: Gypsies in Canada, a one hour cultural documentary on the Romany people in Canada for The National Film Board of Canada and CBC (1999), and Secret War, a one-hour documentary for History Television (2001). She also produces drama, with her 1998 half-hour comedy Does That Make Me a Bad Person? winning awards at the New York Expo of Short Film and Video, Salerno International Film Festival and Worldfest Flagstaff; and airing on CBC, WTN and as in-flight entertainment onboard Air Canada. She has a feature in development set in the U.K., a romantic comedy entitled Set the Date. Ava Karvonen Producer Ava Karvonen has been an active member of the Alberta film community for over 15 years. Her Edmonton-based production company, Reel Girls Media Inc., specializes in producing documentaries, children's television series and new media that celebrate the arts, examine social issues and explore the human relationship with the natural world. Ava is the producer, co-host and story editor of WildFiles.TV, a 13-part half-hour interactive TV series for children, exploring mysteries of the animal kingdom. As a companion to this series, Ava also produced www.wildfiles.tv, an interactive version of the series where kids conduct their own explorations of the science and the 13 animals featured in the TV series. Ava's most recent credits include producing the one-hour TV documentary Return of the Peregrine; the entertaining kids CD- ROM series, Zoology Zone: Bears, Raptors and Spiders, and 7 award-winning episodes for Karvonen Films' television series, Treasures of the Wild. Ava recently wrote/directed/produced two one-hour live events: Up Close and Palaeo and Wildlife Wired, which she also hosted, both live webcast and TV broadcast. She has also directed/produced six segments for CBC's kids' series 6 key bios Street Cents. With her partners in Storytellers Productions Inc., she produced the four part, half- hour animated and live action children's series, Stories from the Seventh Fire, based on the four seasons, and the companion documentary Shared Visions: The Art of Storytelling. To date, these award-winning programs have been selected for screening at 40 international festivals and received a total of 14 awards including "Best Animation" at both the San Francisco American Indian Film Festival and the 2003 Japan Wildlife Film Festival in Tokyo. Bonnie Thompson Producer Bonnie Thompson is Producer at the National Film Board of Canada's studio in Edmonton, working with Alberta and NWT documentary filmmakers. Thompson's producer highlights at the NFB include producing Unsuitable Actions and Appropriate Actions (1997/98) two award-winning educational videos, which deal with sexual harassment in junior high schools. She produced Beaverman, a quirky film about a man's obsession with beavers broadcast on CBC Rough Cuts (2002). Thompson associate-produced The Honour of the Crown which tells the story of a century- long battle for an Aboriginal land claim for CBC Witness (2002); Worst Case Scenario, about an Alberta community's opposition to a sour gas well for CBC's The Nature of Things (2001), Donna's Story, about a remarkable Aboriginal woman who overcame a life of addiction and prostitution (2001); Red Run, which documents spectacular and dangerous fishing methods used by Aboriginal bands netting salmon along the Fraser River Canyon (2001); and Truckers, which looks at the life of long-distance truckers (2001). Jerry Krepakevich Producer Jerry Krepakevich is a director, writer, editor and producer whose filmography now lists more than 95 films, including animation, documentary and dramas. He joined the National Film Board in 1967 and opened the NFB Prairie Studio in Winnipeg in 1974.
Load more

Recommended publications
  • A Commissioned Suite of Piano
    THE MOSAÏQUE PROJECT Ensemble Made In Canada’s Mosaïque Project consists of three components: a commissioned suite of piano quartets by 14 Canadian composers, each inspired by a particular region of Canada, a national concert tour throughout the 2018-2019 season, and a specially designed website that will document audience-generated artwork inspired by the musical commission. www.mosaiqueproject.com The Mosaïque Project A unique and exciting nation-wide project. Become a part of the creation and express yourself through drawing as you listen to the music of 14 Canadians, each inspired by a different region of our country. Performed by piano quartet, Ensemble Made In Canada. www.mosaiqueproject.com PROGRAM [order tbd] BRAID, DAVID (Northwest Territories) Great Bear River Blues CROALL, BARBARA (St. Lawrence Seaway and Great Lakes) Nbiidaasamishkaamin/We Come Paddling Here DOIRON, JULIE arr. Andrew Creeggan (New Brunswick) Blessed DOWNING, ANDREW (Manitoba) Red River Fantasy FUNG, VIVIAN (Alberta) Shifting Landscapes GILBERT, NICOLAS (Québec) Ilôts LAU, KEVIN (Yukon) Race to the Midnight Sun LIZÉE, NICOLE (Saskatchewan) The Bessborough Hotel MASCALL, RICHARD (Ontario) Petroglyphs MOUSSA, SAMY (Nunavut) Orpheus in Nunavut ROWSON, WILLIAM (Nova Scotia) Short Variations on Waves SIGESMUND, DARREN (Prince Edward Island) Kensington Ceilidh SLEAN, SARAH (Newfoundland) Jonny Pippy of Pouch Cove, on a Bicycle at Dawn SOKOLOVIĆ, ANA (British Columbia) Splendor Sine Occasu PROGRAM NOTES BRAID, DAVID (Northwest Territories) Great Bear River Blues Situated in the Sahtu Region of the Northwest Territories is the Great Bear River, a 113-kilometre channel connecting to the Mackenzie River at the hamlet of Tulita, the birthplace of “Yatsule” (1879) a prolific musician of Dene Folk Music.
    [Show full text]
  • John Arcand and Andy Dejarlis Crossing Over
    studying culture in context Two models in the world of Métis fiddling: John Arcand and Andy DeJarlis Sarah Quick Excerpted from: Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 Edited by Ian Russell and Anna Kearney Guigné First published in 2010 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-6-5 About the author: Sarah Quick currently teaches at Winthrop University. She holds a PhD in Social-Cultural Anthropology (Indiana University, 2009) and received fellowships from the Canadian Studies Grant Program and Skomp fund (Indiana University). Research interests include Métis and First Nations music/dance, culture and history; the heritage industry, and, recently, food movements. Copyright © 2010 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 10 Two models in the world of Métis fiddling: John Arcand and Andy DeJarlis SARAH QUICK ndy DeJarlis and John Arcand are two fiddle-composers well known in Western ACanada in part because of their influence on Métis fiddling practice. Previous scholarship has tended to focus on traditional tunes and traditional stylistics in relation to Métis fiddling; while recent compositions and commercial fiddling have largely been conceived as negatively influencing the unique qualities that define traditional Métis fiddling as a genre.
    [Show full text]
  • Ukrainian Music and the Construction of Identity
    University of Alberta Polkas on the Prairies: Ukrainian Music and the Construction of Identity Brian A. Cherwick 0C A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ukrainian Folklore and Ethnornusicology Department of Modern Languages and Cultural Studies and Department of Music Edmonton, Alberta Spring 1999 National Library 8ibliothGque nationale 1+1 of,,, du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KIA ON4 Ottawa ON K1A ON4 Canada Canada your & Votre reference Our fi& Norre refer- The author has granted a Don- L'auteur a accorde me licence non exclusive licence allowing the exclusive pennettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prster, distribuer ou copies of this thesis in microfom, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/% de reproduction sur papier ou sur format Bectronique. The author retains ownership of the L'auteur conserve la propriPte du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantial extracts &om it Ni Ia these ni des edtssubstantiels may be printed or othewise de celIe-ci ne doivent &e imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. To Beth and Maria, and to all the musicians who inspired this journey Abstract This study looks at the a-ty of Ukrainian polka bands performing in the Canadian prairie provinces, with a specific concenaadon on one of these groups.
    [Show full text]
  • Core 1..180 Hansard (PRISM::Advent3b2 16.25)
    Débats de la Chambre des communes e e VOLUME 147 Ï NUMÉRO 124 Ï 2 SESSION Ï 41 LÉGISLATURE COMPTE RENDU OFFICIEL (HANSARD) Le mardi 7 octobre 2014 Présidence de l'honorable Andrew Scheer TABLE DES MATIÈRES (La table des matières quotidienne des délibérations se trouve à la fin du présent numéro.) 8317 CHAMBRE DES COMMUNES Le mardi 7 octobre 2014 La séance est ouverte à 10 heures. [Traduction] LES DÉLÉGATIONS INTERPARLEMENTAIRES M. David Tilson (Dufferin—Caledon, PCC): Monsieur le Prière Président, conformément au paragraphe 34(1) du Règlement, j'ai l'honneur de présenter à la Chambre, dans les deux langues officielles, le rapport de la délégation canadienne de l'Association parlementaire Canada-Europe concernant sa participation à la AFFAIRES COURANTES deuxième partie de la session ordinaire de 2014 de l'Assemblée Ï (1005) parlementaire du Conseil de l'Europe, ainsi que sa mission parlementaire auprès de l'Organisation de coopération et de [Traduction] développement économiques, au Saint-Siège et en Italie, le prochain pays à assumer la présidence par rotation du Conseil de l'Union LES LANGUES OFFICIELLES européenne, tenue à Strasbourg et à Paris, en France, et au Vatican et Le Président: J'ai l'honneur de déposer, conformément à à Rome, en Italie, du 7 au 16 avril. l'article 66 de la Loi sur les langues officielles, le rapport annuel du commissaire aux langues officielles pour la période allant du *** 1er avril 2013 au 31 mars 2014. LOI PROTÉGEANT LES LACS ET LES RIVIÈRES DE [Français] BURNABY Conformément à l'alinéa 108.(3)f) du Règlement, ce rapport est M.
    [Show full text]
  • Music, Power, and Relations: Fiddling As a Meeting Place
    MUSIC, POWER, AND RELATIONS: FIDDLING AS A MEETING PLACE BETWEEN RE-SETTLERS AND INDIGENOUS NATIONS IN MANITOBA MONIQUE GIROUX A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JUNE 2013 © Monique Giroux, 2013 Abstract This dissertation examines fiddling as a meeting place between Turtle Island's Indigenous nations and Manitoba's re-settler population. Based on archival research, interviews, and fieldwork in Manitoba, it argues that fiddling both reflects the broader relationship between Indigenous nations and re-settlers (which is marked by an unequal distribution of power) and is used to remake this relationship. The first section focuses on Indigenous fiddling. Using mainstream (re-settler) newspaper articles from the early twentieth century to the present day, it examines re-settler representations of Indigenous fiddlers and fiddling; it also explores Metisfest, a contemporary Metis rendezvous that functions as a space for Metis cultural resurgence, using fiddling as a central 'draw'. The next section considers the old-time scene by providing a working definition of the style, exploring fiddle contests, and addressing a number of key tensions in the old-time fiddle community. It argues that old-time fiddling functions as an unmarked centre that reinforces an unequal relationship between nations; at the same time, it acknowledges the significant contributions made by Indigenous fiddlers to Manitoba's old-time scene. The final section focuses on the Manitoba Open Old Time Fiddle Championships, a fiddle competition that explicitly brings old-time and Metis (style) fiddling together through the inclusion of a Metis-style category.
    [Show full text]
  • Fiddling in Canada: (Also Known As Country
    Fiddling in Canada: (also known as Country, Folk, Celtic or Old Time fiddling, Old Time Music, or by cultural or regional names, eg, Scottish, Cape Breton, Ukrainian-Canadian, French-Canadian, Acadian, Newfoundland, Ottawa Valley, Down-East, Aboriginal, First Nations, Inuit, or Métis fiddling, among others). I. Introduction II. History i. The Historical Record to ca 1920 ii. The Recording Age: 1920 – 75 iii. The Revival: 1975 – iv. Composition and New Directions III. Style and Repertoire i French-Canadian ii Aboriginal (Inuit, First Nations, Métis) iii. Scottish iv. Anglo-Canadian (also called Old Time or Down-east) v. Newfoundland vi. Ukrainian/Eastern European vii. Irish IV. Publications, Research and Collections I. INTRODUCTION Until about 1960, fiddling was the principal medium of dance music in rural Canada. By virtue of its continuous history, dating from the 17th century, the extent of its past and current practice, and the manner in which it has mirrored the cultural development of Canada since the beginning of European habitation, it is our premier instrumental folk tradition. Although research and comparative work between older fiddle and dance traditions in various parts of the country has been somewhat sporadic, and sources are scarce on early practices in many areas, it is clear that many Scottish, Irish, English, French and American tunes which first came to Canada in the 18th and 19th centuries are still widespread in various forms, often modified by local practice. This early repertoire formed the basis of fiddle traditions that eventually extended throughout the country, passed along almost entirely through oral tradition with little formal teaching or musical notation involved.
    [Show full text]
  • By KRISTI WEISS FUOCO B.Mus., Mount Allison University, 2003 A
    METIS FIDDLING AT THE BORDERS OF CANADIAN TRADITION by KRISTI WEISS FUOCO B.Mus., Mount Allison University, 2003 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 2007 © Kristi Weiss Fuoco, 2007 Abstract The tradition of Metis fiddling in Canada is an integral yet relatively unknown historical practice that has been handed down through the generations. The rich combination of European culture and Aboriginal culture of Western Canada created a new and distinct group of people, the Metis, who played an important role in shaping Canada's history. - Through a combination of Aboriginal dancing and dnirnming traditions, mixed with the Celtic and French fiddle, what is known today as Metis fiddling emerged. The tradition has been kept alive by the dedication of the older generation who pass it down orally to those willing to learn it, and through festivals and competitions that are becoming more widespread every year. In this thesis I will examine the history of the Metis and their fiddling tradition, the important role it plays in their culture and the close relationship between the fiddle and dance. My research is a combination of ethnographic, historical, cultural and musical analysis that combines to create a comprehensive study of Metis < fiddling in Western Canada. As the Metis population is comparatively small in Canada, and often forgotten, there has not been extensive research conducted into the musical culture of the Metis, particularly the fiddling tradition. Recordings and books which " examine this music are not numerous or easy to find.
    [Show full text]
  • Canadian Folk Music | Musique Folklorique Canadienne
    Reviews Book Rev. Franceene Watson. Andy De Jarlis: Master of added bonus is the detailed (24-page!) genealogy of Métis Melodies. Métis Community Services, P.O. Box the de Jarlis family, provided by Stanley Hulme and 8660, Victoria, B.C. V8W 3S2; mail@métis.ca; Gail Morin, in which we learn, if I have figured it out www.métis.ca; Rev. Franceene Watson, 3945 Lexington correctly (some sort of legend or explanation would Ave., Victoria, B.C. V8N 5C1; [email protected] have been helpful here), that not only was he related to another famous Métis musician, Pierre Falcon Kudos to Ms. Watson for taking on a task that is long (often called "The Bard of the Métis"), but also he overdue – a biography of one of our most influential had connections to historical leader Cuthbert Grant. musicians, traditional fiddler Andy de Jarlis. It begs Unfortunately, the book’s strengths are also its the question, of course, why biographies of Canadian weaknesses, and it suffers from a number of basic musicians are so scarce. To my knowledge, this is journalistic shortcomings. Most of the information only the second of a fiddler, the first being a tribute comes from only one informant, the aforementioned to one of our first media superstars, Don Messer, sister, with a few quotes from other friends and written in 1969. But while the east had Don, the west admirers, notably fellow fiddler Victor Pasowisty. It had Andy, easily Don’s counterpart, with somewhere is pretty much devoid of any attempt at objectivity in the neighbourhood of 33 albums to his credit, and and, while loosely chronological, jumps around at least half a dozen full tribute albums exclusively of enough to be quite confusing at times.
    [Show full text]
  • Crossing Over Ddle and Dance Studies from Around the North Atlantic 3
    Crossing Over ddle and dance studies from around the north atlantic 3 Ian Russell edited by Anna Kearney Guigné Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 The Elphinstone Institute Occasional Publications 7 General Editor – Ian Russell 1. After Columba – After Calvin: Community and Identity in the Religious Traditions of North East Scotland edited by James Porter 2. The Bedesman and the Hodbearer: The Epistolary Friendship of Francis James Child and William Walker edited by Mary Ellen Brown 3. Folk Song: Tradition, Revival, and Re-Creation edited by Ian Russell and David Atkinson 4. North-East Identities and Scottish Schooling The Relationship of the Scottish Educational System to the Culture of North-East Scotland edited by David Northcroft 5. Play It Like It Is Fiddle and Dance Studies from around the North Atlantic edited by Ian Russell and Mary Anne Alburger 6. Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 edited by Ian Russell and Mary Anne Alburger 7. Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 edited by Ian Russell and Anna Kearney Guigné Elphinstone Institute Occasional Publications is a peer-reviewed series of scholarly works in ethnology and folklore. The Elphinstone Institute at the University of Aberdeen was established in 1995 to study, conserve, and promote the culture of North-East and Northern Scotland. Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 Edited by Ian Russell and Anna Kearney Guigné The Elphinstone Institute, University of Aberdeen in association with the Department of Folklore, MMaP and the School of Music, Memorial University of Newfoundland 2010 Copyright © 2010 the Elphinstone Institute, University of Aberdeen, and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, University of Aberdeen, copyright in individual contributions remains with the contributors.
    [Show full text]
  • Archipelago Soundscape: Irish Music History and Vernacular Fiddle Cultures on Prince Edward Island
    Archipelago Soundscape: Irish Music History and Vernacular Fiddle Cultures on Prince Edward Island Kate Bevan-Baker A Thesis In the Humanities Program Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Humanities) at Concordia University Montréal, Québec, Canada February 2018 © Kate Bevan-Baker, 2018 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Kate Bevan-Baker Entitled: Archipelago Soundscape: Irish Music History and Vernacular Fiddle Cultures on Prince Edward Island and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Humanities) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Vivek Venkatesh External Examiner Dr. David Wilson External to Program Dr. Emer O'Toole Examiner Dr. Mark Fewer Examiner Dr. Jane McGaughey Thesis Supervisor Dr. Gearóid Ó hAllmhuráin Approved by Dr. Erin Manning, Graduate Program Director Thursday, March 15, 2018 Dr. André Roy, Dean Faculty of Arts and Science Abstract Archipelago Soundscape: Irish Music History and Vernacular Fiddle Cultures on Prince Edward Island Kate Bevan-Baker, PhD Concordia University, 2018 Part of an archipelago that stretches along the seaways from Newfoundland to Les Îles-de-la- Madeleine, Prince Edward Island is Canada’s smallest province. It lies “cradled in the waves,” (as its Mi’kmaq name indicates), off the east coast of New Brunswick in the shallow waters of the Northumberland Strait. Its moderate climate and rich red soil have allowed fishing and agriculture to prosper there over the centuries.
    [Show full text]