Scottish Traditional Music

A good deal of water has flowed under the bridge since James Ross published "A Classification of Gaelic Folk-Song" in 1957. 1 Ross's study was typical of a time when scholars favored a clinical and taxonomical approach to oral traditional culture, before modern theories about text, context, and genre began to raise good questions about the application of scientific methods to the analysis of cultural activity. The search for answers to these questions has greatly advanced the way ethnographers and ethnomusicologists understand culture, including the cultures of the Gael. 2 After six decades, it seems fitting to revisit Ross's classification system, and to examine whether the effort of constructing such a system is still worthwhile or not. In The Anthropology of Music, Alan Merriam (1964:209) suggests that we understand musical activity by considering the uses and functions that music serves within a given culture: In the study of human behavior we search constantly. .. not only for the descriptive facts about music, but, more important, for the meaning of music. We wish to know not only what a thing is, but, more significantly, what it does for people and how it does it. Merriam defines the uses of music as "the ways in which music is employed in human society. .. the habitual practice or customary exercise of music either as a thing in itself or in conjunction with other activities" (210), suggesting that the uses of music can be understood in terms of how musical activity is manifest in daily life-in what social contexts it occurs, and to what utilitarian purposes it is deployed. Function, on the other hand, "concerns the reasons for Oral Tradition, 32/1 (2018):71-140 1 I owe a deep debt of gratitude to a number of colleagues whose help and advice have sustained me in pursuing this rather tricky project. My thanks to the organizers of the 2012 Rannsachadh na Gàidhlig conference in Glasgow, who provided a platform for work-in-progress; to colleagues in Celtic and Scottish Studies, University of Edinburgh, including Drs. John Shaw and William Lamb, both of whom were kind enough to comment upon a revised draft of this paper; to Dr. Cathlin Macaulay, Archivist of the School of Scottish Studies Archives, for offering guidance about the use of archive recordings; to Dr. Heather Sparling of Cape Breton University, who read and commented on an early draft; to Dr. Dòmhnall Uilleam Stiùbhart of the University of the Highlands and Islands, who provided help with the subject of Gaelic bawdry; and to Dr. John MacInnes, who has allowed me to pick his brains and mine his memory on occasions too numerous to count. I would also like to thank the two anonymous reviewers assigned to read the original draft of this paper on behalf of Oral Tradition. Their queries, objections, and suggestions have, I hope, greatly strengthened the arguments advanced here, and saved me from many a clanger. Tapadh leibh uile.

She has conducted long-term fieldwork in the county of Fife, Scotland, and surrounding regions. Her research and publications focus on the performance, social context, and aesthetics of traditional social dance and music in Lowland Scotland, and on Anglo-American traditions in architecture and cra�s.

The fiddle and the dance in Fife: the legacy of 'Fiddley' Adamson, father and son CATHERINE A. SHOUPE E xamining the role of the fiddle in dance instruction and practice in Fife sheds light on the continuity of music and dance traditions in Scotland. The instrument and its repertoire, the reciprocal relationship between music and dancing, the practice of professional musicians and dancing masters, and the social and aesthetic features of dancing illustrate how the fiddle remains central to Sco�ish tradition. Although the relationship between the fiddle and dance goes back to medieval times, what we know in any detail dates from the introduction of the modern instrument from Italy. David Johnson notes: 'By 1760 the violin had swept its competitors off the board and achieved a central position in Sco�ish music, just as it had earlier done in European music. It had become the instrument of Sco�ish traditional music'. 1 The eighteenth-century repertoire for the violin included both art forms like the variation sonata and the minuet, and dance and song tunes in the traditional idiom. Shortly a�er 1800, however, the European-based art forms had virtually disappeared, and '[I]n the centre of the picture, instead, were hundreds of short dance tunes, some of them old but the vast majority new ones, composed within the previous forty years'. 2 The Romantic enthusiasm for native traditions, coupled with a defensive Sco�ish nationalism driven by political and social change, were two causes for this shi� of emphasis. John Purser suggests that 'Scots turned their back on the new musical architecture of Haydn, Mozart, and Beethoven and on anything that seemed to be leading towards it, in order to defend a musical environment which they believed was too beautiful and too vulnerable to risk'. 3 Johnson argues that these repertoire changes were also driven by the professionalisation of music, including the possibility of earning a living as a full-time musician and the publication of collections of dance tunes: dance music was a meal-ticket, and economics strongly influenced the development of the repertoire. Thus it was that reels, jigs, strathspeys, and hornpipes came into dominance. This repertoire testifies to the reciprocal relationship between dance and musical forms. One cannot dance without music, and equally this music takes on its particular character when played for dancing. Not only do dance and tune types correspond, but well-executed music creates a

The fiddle, likewise a much rarer musical instrument, the Lithuanian zither kanklės, became a symbol of Lithuanness, distinguishing Lithuanians and their bands and orchestras in the middle of the twentieth century in Soviet-era Siberia. It also had multi-faceted psychological, communicative functions and symbolic meanings, significant to the political prisoners and
deportees.
During traditional customs, fiddle music played one of the greatest roles in
representing and maintaining Lithuanian national and cultural identity, which was much more important in forced exile than at home. Traditional fiddling was of great relevance to the deportees’ and political prisoners’ states of mind, their spiritual resistance, if not their physical survival.

Iosif Ivanovici was - surprisingly today - the most well-known Romanian composer from the late 19th century and the early 20th century on the international music scene. He was also an important exponent of Military music in our country. Information regarding the life and works of Iosif Ivanovici can be uncertain even today because of the difficulty in accessing documents from the military archives or the indifference with which this prolific musician was treated by the Romanian musicologists and performers in the last century. Another important factor that leads to the disregard of his work was the communist censorship of any expressions and investigations into the cultural works, which involved members of the Royal Family of Romania or were dedicated to them. An important part of Ivanovici’s compositions fall into this category. His representative composition, The Waves of the Danuve waltz, is even today popular all over the world, being part of soundtracks of tens of movies or bei...

meinem Referenten, für wichtige Ratschläge und Gespräche und seine Gabe, zu ermutigen und zu fördern; und besonders für das offene Klima in der research community des Englischen Seminars der Universität Basel. Prof. Dr. Anne Shreffler, vormals Basel, jetzt Harvard, meiner Korreferentin, für wichtige Gespräche und für die Vermittlung unschätzbar wertvoller Kontakte mit englischen und amerikanischen Forschern auf dem Gebiet der word-and-music studies. Dem Schweizerischen Nationalfonds für seine großzügige Unterstützung des Projekts, und Prof. Dr. Engler und Prof. Dr. Shreffler für ihre Hilfe beim Ersuchen darum.

First published in 1844, “My Last Cigar” was an popular and widely-anthologized college song in the second half of the nineteenth century. By an 1887 newspaper account, its popularity was second only to “Home Sweet Home.” James Maurice Hubbard (1822-1900) has long been named as the composer of the tune. Hubbard, in turn, identified Charles Condit (1827-1876) as the lyricist. This paper demonstrates that both claims are false. While Hubbard publish an art song titled “My Last Cigar” using lyrics that, perhaps he received from Condit, those lyrics were written by Joseph Warren Fabens (1821-1874). Further, the original art song Hubbard wrote was replaced by 1860 with a minstrel tune, “May, Dearest May,” and it was according to that tune that the song enjoyed tremendous popularity. In sum, the composer of America’s second favorite song, circa 1887, was the unknown creator of a minstrel tune and the lyrics were stolen from Joseph Warren Fabens. For the first time, with this publication, the correct attributions are made for “My Last Cigar.”

1756-1791 Allegro vivace Andante sostenuto Allegro Sarah Fourt, violin Lieder Oiseaux, si tous les ans, KV 307 (1777-18) Der Zauberer, KV 472 (T785) Das Veilchen, KV 416 (1785) ,dls Luise die Briefe ihres ungetreuen Liebhabers verbrannte,Kv 520 (1787) Kristina Bubar, soprano **There will be a l]-minute intermission** Lieder Dans un bois solitaire, KV 3OB (1177-i8)

The English composer William Shield (1748–1829) owed much of his success to an affinity for folk music which led him to produce hundreds of arrangements of ‘national airs’, mostly within the scores of popular theatre productions. This article draws on Shield’s own published scores and treatises, contemporary reviews of his works, and rare manuscript sources to explain how his early encounters with traditional tunes shaped his compositional approach throughout his career. It also explores why and how the most popular of Shield’s composed melodies were so readily reabsorbed into the oral tradition that first inspired them.

Alfonso Franco has a veterinary degree from the University of Santiago de Compostela (1990), a professional degree in the violin from Santiago de Compostela Conservatory (1996), and completed his doctoral studies in traditional Galician music at the University of Santiago de Compostela in 2003. A teacher of the fiddle in the Traditional Music Conservatory of Vigo, he is responsible for the string section of the Galician folk orchestra Sondeseu. He has given workshops and performances in Spain, Portugal, Newfoundland, Scotland, and in 2011 taught at Alasdair Fraser's Sierra Fiddle Camp in California. He has played and recorded with several folk and rock groups, and most recently with the concert harpist Paula Oanes and the Bulla Timpánica Trío.

THE DEVELOPMENT OF SOUND technologies since the late nineteenth century has been as revolutionary for musicians as the printing press was for verbal communication in the fifteenth century. By the late twentieth century, the remotest of villages had access to new sounds and information from across the globe. Not unexpectedly, these processes have had a major impact on folk music traditions around the world, including those in Newfoundland and Labrador. This article will examine how media sources, such as radio, recordings, television, and printed music have transmitted new styles of music to the island and how these, in turn, have influenced the repertoire and styles of traditional fiddle players. I will focus mainly on musicians who began learning in a community context, around or before mid-century, and consider how they used multiple technologies to access and learn new styles. I will draw primarily on field research conducted between 2000 and 2002 throughout the island of Newfoundland, with a particular focus on musicians from Bay de Verde, Conception Bay. All of these fiddlers have learned local tunes from the aural tradition, and media sources have supplemented this repertoire. 2 As Herbert Halpert noted in his preface to Taft's discography of Newfoundland music: One point should be emphasized. A vigorous folk culture is not overwhelmed by modern commercial music. It does not feel impelled to absorb all the new musical idioms to which it is exposed. Apparently a strong culture is able to adopt selectively from many styles only those elements that it wants, those that it can adjust to its own way of feeling. (v)

is a first generation descendant from two musical parents-her father from Inverness, Cape Breton Island, and her mother (and grandmother) from Margaree. Janine grew up with house parties as a common occurrence because of her mother's aunt's involvement as pianist for the Inverness Serenaders (the first group from Cape Breton Island to be recorded-Decca, 1930). A step dancer as a young girl, she grew up with fiddlers Angus Chisholm, Alec Gillis, Alcide Aucoin always at the home. Later, fiddlers Bill Lamey, Joe Cormier and John Campbell were regulars, with Mary Muise playing accompaniment. Janine became piano accompanist to fiddlers in the area and for visiting musicians playing for dances. She went on to create and found the Ceilidh Trail School of Celtic Music in Inverside, Cape Breton Island in 1995 and continued the legacy of traditional, acoustic Cape Breton fiddle, piano, guitar and step dancing in structured learning and live daily performance. She has six recordings as accompanist to Cape Breton fiddle music, including a Grammy nomination, and has performed with most of today's Cape Breton fiddlers including its legendary players Buddy MacMaster, Jerry Holland and Brenda Stubbert.

This paper describes the reconstruction of life and work of African-American composer Jacob J. Sawyer (1856–1885) with the help of genealogy databases and online collections of music scores. During his life, Sawyer held positions with well-known music ensembles: Haverly’s Colored Minstrels, Hyers Sisters Troupe, and Slayton Ideal Company.

This study examines pedagogy and assessment in instrumental education in Ireland. It arises from a concern that instrumental teaching and learning have remained situated in a ‗black box', operating outside of mainstream education, and have not benefitted from the research and theory which have influenced other areas of education 3. Using Shulman's (2005) framework of ‗signature pedagogy', the data enable a CHAPTER Key Signature Pedagogy Signature pedagogies are important precisely because they are pervasive. They implicitly define what counts as knowledge in the field and how things become known. They define how knowledge is analyzed, criticized, accepted, or discarded. They define the function of expertise in a field, the locus of authority, and the privileges of rank and standing … [T]hese pedagogies even determine the architectural design of educational institutions, which in turn serves to perpetuate these approaches (Shulman, 2005, p.54).

Young's cautionary words about glossing Latin fistulator as `piper' (`Plays and players : the Latin terms for performance' [part 2], REEDN 10, #1 (1985), 9-10) prompt me to mention a similar problem which exists in English, and of which REED workers should be aware. The oED glossesfiddler, in the musical sense, only as a player on instruments of the violin family. Some texts falling within REED's purview serve to cast doubt on this. The first is Henry Burton's A divine tragedie lately acted, in which Example 45 (1641 edn, p 20) recounts that Also at Battersey neer London, the last year [1634] a notable example of God's judgement befell a fiddler, the youth of the town of both sexes, being assembled solemnly to set up a garland upon their Maypole , and having got a tabor and pipe for the purpose, he with the pipe in his mouth, fell down dead and never spake word .

Thesis (M.M.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at [email protected]. Thank you.

We describe a project in which several collaborators adapted an existing instrument to make it capable of playing expressively in music based on the microtonal scale characterised by equal divsion of the octave into 19 tones (“19-EDO”). Our objective was not just to build this instrument, however, but also to produce a well-formed piece of music which would exploit it idiomatically, in a performance which would provide listeners with a pleasurable and satisfying musical experience. Hence, consideration of the extent and limits of the playing-techniques of the resulting instrument (a “Wind-Controller”) and of appropriate approaches to the composition of music for it were an integral part of the project from the start. Moreover, the intention was also that the piece, though grounded in the musical characteristics of the 19-EDO scale, would nevertheless have a recognisable relationship with what Dimitri Tymoczko (2010) has called the “Extended Common Practice” of the last millennium. S...

Scandinavian fiddling for string teachers is discussed. Scandinavian music consists of two layers of folk dance music. The older layer, called "bygdedans" (village dance), has the polska as its most common form. This layer of folk dance music was played either solo on fiddle, hardingfele, or nyckelharpa, in duos, or larger ensembles made up entirely of these instruments. The newer layer of folk dance, ironically called "gammeldans" (old dance), can add more contemporary instruments, such as the accordion, clarinet, bass, guitar, or almost any other instrument in addition to fiddles. Classical string players can readily participate in Scandinavian fiddling because it follows similar principles of intonation, rhythm, and tone quality. String teachers can easily adapt Scandinavian fiddling to their teaching.

lthe Centenary Souvenir. Sis Songs by 23ir Walter Scott. The music by George Croal. TH,E composer of these songs states in his preface that he wa3 present at the dinner of the Theatrical Fund in Edinburgh when Sir Walter Scott publicly avowed himself the author of 4 NVaverley * " and naturally feeling much interest in the celebration of the centenary of the great novelist, he has produced this attractive little volume as a souvenir of the event. The compositions are encceedingly meritorious, and although not equal in merit, they are all melodious, vozal, and thorougnl.s Scottish in character. We are inclined to select for especial comrnendation 44 Soldier, rest," The Wandering Harper," and 44 The Gavalier," the first named being full of feeling, and truly sympathetic with the words. The accompaniments are generally carefully written-so carefully, indeed, that we wonder how two such glaring consecutive fifths as occur between the voice-part and bass, in the second bar on page 'J, could have crept in. Mr. Croal has selected some songs which have not been too much hackneyed; and we are even inclined to agree with the composer's assertioll that they are " almost unknown to the present generation in a lyrical form." J. MCDOWELL AND CO. Gavotte Favoe Re de ]106rie Antoinette (1774), pour Pianopar Ch. Neustedt. A QUAINT and characteristic melody, which cannot fail to attract those lovers of real music whoF ears are perforce tuned to the manufactured sickly 4; themes" of the present day. We care little for the modern ornaments of the arranger, and believe that the subject simply set forth would have been infinitely more satisfactory. The publishers of course will not agree mith us; but we verv much doubt whether the taste of the public in these matters is not greatly underrated. The Gallant Cross of Red. Written and composed by J. L. Richardson. As E e find that this sonC is stated to be " arranged by A. J. Sutton, Esq.," we may conclude that the author of the poetry is not musician enough to do more than imagine a melody to his wolds. Without being unduly critical upon the music, therefore-although we may say that it is suicientlv well suited fUr the purpose, if not strikingly original-we must give much credit to Mr. Richardson for his verses, which are well written and full of feeling. The introduction of the chorus at the end of each verse gives additional importance to a composition which deserves recognition as drawing attention to a subject which in counection with the late war, should not be allowed to pass from our memory. WAS OOD AND CO. Scherzo Giojebtes for the Fwianoforte. Scherzo, nello stile lVczpoZitano, for the Pianoforte. Composed by Franz M. D'Alquen. BOTH these pieces, dedicated to Madame Piatti 4; by her old friend and master," are good speci[nens of healthy writing. The subject of the first Scherzo is peculiar, but 44by W. C. Levey." Considering that it is merely a transcription of Niedermeyer's well-known song 4 Le Lac," we think that as. the title on the cover is the fir6t, if not the ot)ly, one which strikes the eye of intending purchasers, Mr. Levey's name should there have appeared second to that of Niedermeyer. As an arrangement of the melody it is entitled to warm commendation; and pianists who have 6tudied the art of playing an air * eans paroles," will find this a most attractive piece on which to esercise their powers. The exceseive beauty of the theme will be certain to ensure it a welcome with a drasing-room audience. JOHN MENZIES AND CO., EDINBURGH AND GLASGOW A2{D HOULSTON AND SONS, LONDO2{. lthe Centenary Souvenir. Sis Songs by 23ir Walter Scott. The music by George Croal. TH,E composer of these songs states in his preface that he wa3 present at the dinner of the Theatrical Fund in Edinburgh when Sir Walter Scott publicly avowed himself the author of 4 NVaverley * " and naturally feeling much interest in the celebration of the centenary of the great novelist, he has produced this attractive little volume as a souvenir of the event. The compositions are encceedingly meritorious, and although not equal in merit, they are all melodious, vozal, and thorougnl.s Scottish in character. We are inclined to select for especial comrnendation 44 Soldier, rest," The Wandering Harper," and 44 The Gavalier," the first named being full of feeling, and truly sympathetic with the words. The accompaniments are generally carefully written-so carefully, indeed, that we wonder how two such glaring consecutive fifths as occur between the voice-part and bass, in the second bar on page 'J, could have crept in. Mr. Croal has selected some songs which have not been too much hackneyed; and we are even inclined to agree with the composer's assertioll that they are " almost unknown to the present generation in a lyrical form." J. MCDOWELL AND CO. Gavotte Favoe Re de ]106rie Antoinette (1774), pour Pianopar Ch. Neustedt. A QUAINT and characteristic melody, which cannot fail to attract those lovers of real music whoF ears are perforce tuned to the manufactured sickly 4; themes" of the present day. We care little for the modern ornaments of the arranger, and believe that the subject simply set forth would have been infinitely more satisfactory. The publishers of course will not agree mith us; but we verv much doubt whether the taste of the public in these matters is not greatly underrated. The Gallant Cross of Red. Written and composed by J. L. Richardson. As E e find that this sonC is stated to be " arranged by A. J. Sutton, Esq.," we may conclude that the author of the poetry is not musician enough to do more than imagine a melody to his wolds. Without being unduly critical upon the music, therefore-although we may say that it is suicientlv well suited fUr the purpose, if not strikingly original-we must give much credit to Mr. Richardson for his verses, which are well written and full of feeling. The introduction of the chorus at the end of each verse gives additional importance to a composition which deserves recognition as drawing attention to a subject which in counection with the late war, should not be allowed to pass from our memory. WAS OOD AND CO. Scherzo Giojebtes for the Fwianoforte. Scherzo, nello stile lVczpoZitano, for the Pianoforte. Composed by Franz M. D'Alquen. BOTH these pieces, dedicated to Madame Piatti 4; by her old friend and master," are good speci[nens of healthy writing. The subject of the first Scherzo is peculiar, but 44by W. C. Levey." Considering that it is merely a transcription of Niedermeyer's well-known song 4 Le Lac," we think that as. the title on the cover is the fir6t, if not the ot)ly, one which strikes the eye of intending purchasers, Mr. Levey's name should there have appeared second to that of Niedermeyer. As an arrangement of the melody it is entitled to warm commendation; and pianists who have 6tudied the art of playing an air * eans paroles," will find this a most attractive piece on which to esercise their powers. The exceseive beauty of the theme will be certain to ensure it a welcome with a drasing-room audience. JOHN MENZIES AND CO., EDINBURGH AND GLASGOW A2{D HOULSTON AND SONS, LONDO2{.

The objective of the research is to study the ability of baker's yeast wastewater (BYW) treatment by a Up Flow - Anaerobic Sludge Blanket (UASB) reactor. The effect of the temperature of BYW on the efficiency of treatment in a UASB was investigated and the experiments showed that it is possible to achieve good removal efficiency of chemical oxygen demand (COD) ( 10200 - 16320 ) mg L -1 when the temperature of BYW is about (35± 2 )°C and hydraulic retention time (HRT) = 24 h. The removal efficiency fit with temperature value of wastewater in UASB reactor for the following values of temperature of ( 11 ± 2 ; 16 ± 2 ; 2 6 ± 2 ; 2 6 ± 2 ; 31± 2 ; 35± 2 ) °C. The removal efficiencies of COD were: ( 36.6 %; 37.9 %; 43 %; 44.2 %; and 48.8%) respectively. The effect of changing the values of HRT on the efficiency removal at a temperature (35±2) °C value was investigated. The experiments illustrated that it is possible to achieve good removal efficiency for high concentrations of COD whe...

The authors wish to acknowledge the contribution to this research made by Dr Kathryn Jones who also collaborated on the project. We would like to extend our gratitude to all the research participants, who were so generous with their time and volunteered their experiences so freely. Finally, we gratefully acknowledge the support and assistance of Bord na Gaidhlig who funded the original research. A version of this paper was presented at the Celtic Sociolinguistics Symposium, Dublin 2016.

thanks are due to Jim, Odhrán and Dallán Woods and Evelyn Conlon for their patience and background support for the endeavour, and to Rebecca Draisey Collishaw for proofing and editorial support. Particular thanks are due to Tom Sherlock and Maggie Maguire who worked tirelessly to realise the NAFCo 2012 vision, and to all the many volunteers who offered their assistance along the way. The help of the many funders who financed the conference is also gratefully acknowledged. Finally we would like to recognise the contribution of Ulster University, not least for the use of the facilities at the Magee campus, which made possible the airing of the ideas in these pages.

This work is licensed under the Creative Commons AttributionNonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 0-9545682-6-5 First published in 2010 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA Edited by Ian Russell and Anna Kearney Guigné

Visit www.learningfiddle.com for more articles, info and advice on old-time fiddle, bluegrass fiddle, jazz fiddle, improvisation, music education and self-learning. 2 I feel that my involvement in old-time fiddling has proven extremely beneficial for both my playing and sense of musicianship in general. In order to justify this assertion, I would like to examine a few aspects of old-time fiddling and make a few short comments. These comments will be based on my short old-time fiddling experience and some general views on skill development and the acquisition of knowledge. I am aware of course that by no means are they valid among all practitioners of old-time fiddle, but I think they describe certain tendencies, strong enough to be ascribed to the very nature of this musical tradition and its performance. Just after I heard Bruce Molsky playing live for the first time. London, 2002.

New England Fiddles was filmed in 1983 and first released in 1984; it represents a moment in the traditional music of the region. It is based on research by Nicholas Hawes and his personal enthusiasm for the music of the northeastern United States. We couldn't include everyone we wanted; so we tried to film a cross section. We always regretted not including Simon St. Pierre. He lived too far north for our budget. That year he received a National Heritage Fellowship and came to Washington, DC where Alan Lomax shot videotape of him playing with his friend Joe Pomerleau. I found that footage while working with the Alan Lomax Archives and have included it on this DVD. Many of the fiddlers played regularly for dances. The community aesthetic found in a distilled form in the virtuosity of the musicians was shared more diffusely with the community of dancers. In 1989 we finished a companion film, New England Dances.

Electronic Resources Fiddling for Norway is an engrossing portrait of a fiddle-based folk revival in Norway, one that in many ways parallels contemporary folk institutions and festivals. Fiddling for Norway: Revival and Identity, Goertzen Book Review of Fiddling for Norway: Revival and Identity, by Chris. NEW Fiddling FOR Norway Revival AND Identity BY Chris Goertzen. This is a portrait of a fiddle-based folk revival in Norway, investigating the people and events in Norwegian folk fiddling, and tracing the history of Norwegian folk. REINVENTING 'SPRINGS'1 Mar 16, 2015. Book Review of Fiddling for Norway: Revival and Identity, by Chris Goertzen Essay. Free book review papers, essays, and research papers. Sámi Musical Performance and the Politics of Indigeneity in.-Google Books Result By Goertzen, Chris. and the cultivation of music to define identity. The book begins with an investigation of the Fiddling for Norway: Revival and Identity. Fiddling for Norway: Revival and Identity-Chris.-Google Books Synopsis. Fiddling for Norway is an engrossing portrait of a fiddle-based folk revival in Norway, one that in many ways parallels contemporary folk institutions Fiddling for Norway: Revival and Identity, by Chris Goertzen.

Electronic Resources Fiddling for Norway is an engrossing portrait of a fiddle-based folk revival in Norway, one that in many ways parallels contemporary folk institutions and festivals. Fiddling for Norway: Revival and Identity, Goertzen Book Review of Fiddling for Norway: Revival and Identity, by Chris. NEW Fiddling FOR Norway Revival AND Identity BY Chris Goertzen. This is a portrait of a fiddle-based folk revival in Norway, investigating the people and events in Norwegian folk fiddling, and tracing the history of Norwegian folk. REINVENTING 'SPRINGS'1 Mar 16, 2015. Book Review of Fiddling for Norway: Revival and Identity, by Chris Goertzen Essay. Free book review papers, essays, and research papers. Sámi Musical Performance and the Politics of Indigeneity in.-Google Books Result By Goertzen, Chris. and the cultivation of music to define identity. The book begins with an investigation of the Fiddling for Norway: Revival and Identity. Fiddling for Norway: Revival and Identity-Chris.-Google Books Synopsis. Fiddling for Norway is an engrossing portrait of a fiddle-based folk revival in Norway, one that in many ways parallels contemporary folk institutions Fiddling for Norway: Revival and Identity, by Chris Goertzen.

There are over 130 different types of bagpipes in the world, from India to Ireland, Sweden to Tunisia. Despite their many organological and esthetical differences, they are all played thanks to the movement of the arm on a bag, creating enough pressure to activate the reeds and produce sound. This study aims to investigate the control of the bag by the musician’s arm and how this affects the expressive possibilities. The bag, we posit, is not just a mechanism to create continuous sound. In this article, we analyse how the performer starts and stops the sound of the bagpipe.

S u b j e c t: The interrelationship between a traditional instrument and modern art music in Norway. P u r p o s e o f s t u d y: To reveal how the special status of a folk instrument has influenced the development of art music from the period of national romanticism up to today. M e t h o d s: Descriptive, historical. K e y w o r d s: National romanticism, ideology, classical music, instrument history, contemporary music.

It is well acknowledged that the court dances which developed in Europe from the seventeenth century onward spread to the rural areas of Europe and to the new world.2 What has not been properly recognized is that these dancesthe quadrille, the cotillion, the contradance and the likewere taken up by Afro-Americans in North and South America and the West Indies and were modified and adapted to local cultural circumstances. In many cases especially in the West Indiesthey continue to be found today. Yet as similar as these dances may look or sound, their functions are not always necessarily the same as those of their European sources. At one extreme, they were "Africanized" for sacred purposes; at the other, they were reformed and became the basis of a new world popular culture. An example of the former occurs on the island of Montserrat.3 There country dance orchestras made up of various combinations of fife, fiddle, concertina or accordion, triangle, and two drums known as the woowoo and the babala (or babla)4 play for social dancing, but the same music is also used for inducing possession on other occasions, called "jombee dances'"5 On these latter occasions quadrille dance rhythms are intensified and gradually 'Africanized"6 in order that individuals may become possessed and convey the messages of the spirits. Secular customs such as suppers for guests are transformed into ritual sacrifices for spirits, and the mundane lyrics of quadrille songs become part of the mechanism for possession. But the ritual occasion has become "masked," reinterpreted so extensively that the traditional European elements of the dance seem predominant to the casual observer. On other West Indian islands, dance suites and set dances are also associated with the spirits of ancestors, as on Trinidad, where the reel is danced prior to a wedding to ask for the ancestral spirits' consent, and the quadrille danced at a healing rite is associated with African ancestors;7 or on Carriacou, where libations may be poured for ancestors during a quadrille dance (reel engage); and on Tobago, where the spirits are invoked during the reel dance.8 (The Tobago reel is performed mainly by people of Kongo descent and is said to be similar to the danse Kongo of Haiti.) The best example of the transformation of set dances and dance suites into popular culture is their use in the creation of jazz in the United States, through the slow mutation of the quadrille/cotillion from music for social dancing to a purely abstract musical form. Sometimes, even where these dances seem in other respects similar to their European antecedents, they at least differ in setting, as on St. Croix in the Virgin Islands, where quadrille is danced in the streets instead of indoors.9

For some time there has been debate about differing perspectives on musical gift and musical intelligence. One view is that musical gift is innate: that it is present in certain individuals from birth and that the task of the teacher is to develop the potential which is there. A second view is that musical gift is a complex concept which includes responses from individuals to different environments and communities within which they might be placed (Davidson, Howe and Sloboda, 1997). This then raises the possibility that musical excellence can be taught. We have already explored this idea with practising musicians (Stollery and McPhee, 2002). Our research has now expanded to include musicians in training, and, in this paper, we look at the influences in their musical development which have either 'crystallised ' or 'paralysed ' the musical talent which they possess. We conclude that there are several key influences in the musical development of the individual, inc...

The Panel Shetlander Claire White learned the fiddle with Dr Tom Anderson from the age of seven and played as a member of Shetland's Young Heritage in Europe, New Zealand, the USA, and Canada. She is now based in Aberdeen and plays in Shetland music duo Blyde Lasses and ceilidh bands Danse McCabre and Jing Bang. An experienced tutor, she has taught at summer schools in the UK and USA. By day, she is employed by BBC Scotland. James Alexander lives in Spey Bay in Moray and is widely acknowledged as a leading exponent and teacher of Scots Fiddle. He adjudicates at most major Scots Music competitions, including the National Mod and the prestigious Glenfiddich Fiddle Championship at Blair Castle. In the early 1980s James formed the Fochabers Fiddlers, a group of approximately thirty-five young fiddlers with an energetic approach to Sco�ish and Celtic music, who have done nine North American and four European tours. He was syllabus coordinator and adviser to the Royal Sco�ish Academy of Music and Drama's Scots Music graded exam project, and currently serves as an examiner both for graded exams and BA degree exams. In recent years, he has been involved with the University of Aberdeen's Elphinstone Institute and was part of the planning team for the first NAFCO in 2001. James also records as a soloist for two of Scotland's main record companies and is in demand as a session musician and producer. As a classical violin teacher, Cameron Baggins first became inspired to teach and organize young fiddlers a�er hearing some of them try out their competition tunes for him during their lessons in Brandon, Manitoba. This led to the Fantasy Fiddlers group in Brandon, and later the Forty Fiddling Fanatics in Winnipeg. When it became clear there were no significant music education opportunities for Routes & Roots: Fiddle and Dance Studies from around the North Atlantic 4 200 children in northern Manitoba, he launched two pilot projects through the Frontier School Division in 1998. These fiddling classes were instantly popular and led to rapid expansion. At the time of writing, Cameron coordinates the Frontier Fiddling Program throughout the province in 35 schools, employing approximately 10 teachers. Canadian fiddler, composer, teacher and researcher, Anne Lederman is based in Toronto, Canada. Currently she performs solo, with the trio Eh?!, with Njacko Backo and Kalimba Kalimba, and with Muddy York, and is a former member of the Flying Bulgar Klezmer Band among others. She is known especially for her research into Aboriginal fiddle traditions in Canada and has wri�en a two-person play about her work, Spirit of the Narrows. 1 Anne teaches traditional fiddling in Toronto at the World Music Centre of the Royal Conservatory of Music, and at workshops, camps and festivals throughout Canada and internationally. Anne has developed her own progressive teaching method, Tamarack'er Down: A Guide to Celtic-Canadian Fiddling Through Rhythm, 2 based on developing a solid technique for Canadian folk fiddling from beginning to advanced levels.

Part of an archipelago that stretches along the seaways from Newfoundland to Les Iles-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. The Island has been a landing-point for Europeans ever since Jacques Cartier arrived there from France in 1534. The subsequent influx of Acadian, Scottish and Irish settlers during the eighteenth and nineteenth centuries laid the foundations of European settlement on the Island. Two centuries later, the cultural traits of these original settlers continue to distinguish community life on PEI. Music plays a pivotal role in the maintenance of these lifeworlds—especially, traditional fiddle music. This thesis investigates Irish traditional fiddle music on Prince Edward Isla...