Thugadh tiotal an leabhar 'Ri Luinneig mun Chro bho oran eilthirich a' cuimhneachadh le cianalas air seallaidhean agus fuaimean an aite san togadh e, nam measg luinneagan nam ban oga 's iad a' bleoghan nam bo. Airson iomadh linn, tha crodh air pairt gu math cudromach a chluich ann am beatha nan Gaidheal agus tha dualchas luachmhor de dh'orain agus sgeulachdan againn fhathast air sailleabh sin. A bharrachd air orain bleoghain, tha iomadh seorsa oran eile co-cheangailte ri crodh ann an Alba san leabhar seo, a dh'innseas sgeulachd inntinneach air cul faclan nan oran - orain mu dhrobhairean agus buachaillean calma ag obair ann an side nan seachd sian; orain a' moladh a' chruidh fhein no na daoine a bhiodh a' coimhead as an deidh shuas aig an airigh no aig a' bhuaile; rannan a sheallas luach nam beathaichean mar iomhaigh, mar tochradh, no mar airgead; orain mu gainnead de fearainn, fuadachadh agus eilthireachd; orain mu chreachadairean dana a' goid spreidh bho an nabaidhean no bho sgirean fad air falbh; orain agus orrachan airson spreidh a dhion bhon droch-shuil agus bho spioradan olc agus orain eibhinn naidheachail mu thrioblaidean le tarbh a' bhaile.Tha an caibideil mu dheireadh a' coimhead air mar tha cuid de na teamaichean seo air an gleidheadh chun an latha an-diugh ann an talaidhean socair, seimh. Tha faclan nan oran fhein rim faotainn ann an earr-radh aig deireadh an leabhair, le fiosrachadh air cait' an lorgar claraidhean no dreachan sgriobhte den fonn. Chaidh corra phort a chruthachadh cuideachd airson beatha ur a thoirt do chuid de na h-orain, nach eil fhathast gan gabhail is na fuinn aca air chall thar uine. ENGLISH DESCRIPTION The title of the book 'Ri Luinneig mun Chro' ('Singing round the cattlefold') is taken from a Gaelic song telling of the poet's fond memories of his homeland, including the evocative sound of young women singing as they milked the cattle. For many generations, cattle have played a very important role in various aspects of Gaelic life and culture and a rich heritage of song and story has survived with cattle as a prominent theme.In addition to many milking songs, the book includes a wide range of other songs and poems connected to cattle in Scotland and tells the fascinating story behind the lyrics - songs about valiant drovers and herdsmen working in difficult conditions; songs extolling the virtues of the cattle themselves or of the people tending them at the shieling or in the local township; poems which show the importance of cattle in economic terms, as a status symbol, unit of currency or dowry; songs about land poverty, de-settlement and emigration; songs about intrepid cattle thieves stealing livestock from neighbouring clans and from further afield; songs and charms to ward away evil spirits and protect livestock from the evil eye and humorous anecdotal songs about difficulties with the local township bull. The final chapter looks at how many of these themes have survived to the present day in beautiful, soothing Gaelic lullabies. The song lyrics themselves are included in an appendix at the end of the book, with information on where to find a recording or written version of the tune. Some new tunes are also included to bring new life into songs whose original tunes have been lost over time.

Decouvrez la musique folklorique a la flute irlandaise avec ce recueil illustre de chansons issues d'une tradition vivante. Sans connaissance prealable du solfege, vous pouvez immediatement commencer a jouer vos premieres melodies.
Les melodies de ce recueil, et des autres dans la serie, ont ete choisies et arrangees en vue de permettre au debutant d'acceder facilement et rapidement a la musique sans passer par un lourd apprentissage technique. Des tablatures avec les doigtes a la flute sont proposees pour chaque morceau; un CD d'enregistrements audio est aussi disponible et meme conseille afin de favoriser l'apprentissage d'oreille.
Liste des chansons
Angels from the Realms of Glory
Away in a Manger
Boar's Head Carol
Brightest and Best
The Coventry Carol
Bring a Torch, Jeannette, Isabella
The Cherry Tree Carol
Deck the Halls
Ding Dong Merrily On High
The Holly and the Ivy
God Rest Ye, Merry Gentlemen
The First Nowell
Good King Wenceslas
Hark The Herald Angels Sing
I Saw Three Ships Come Sailing In
In Dulci Jubilo
In the Bleak Midwinter
It Came Upon a Midnight Clear
Jingle Bells
Joy to the World
O Christmas Tree
O Come, All Ye Faithful
O Come, O Come Emmanuel
O Little Town of Bethlehem
Once in Royal David's City
Sans Day Carol
See, Amid the Winter Snow
Silent Night
We Three Kings
We Wish You a Merry Christmas
While Shepherds Watched their Flocks by Night
La flute irlandaise (tin whistle ou simplement whistle) est une petite flute droite a six trous, qui dans sa forme actuelle date du 19eme siecle. De par son prix abordable et sa facilite de prise en main, c'est l'instrument le plus repandu en Irlande, et est souvent l'instrument de choix pour debutants et pour enfants.
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One of the pioneers of gender studies in music, Ellen Koskoff edited the foundational text "Women and Music in Cross Cultural Perspective," and her career evolved in tandem with the emergence and development of the field.
In this intellectual memoir, Koskoff describes her journey through the maze of social history and scholarship related to her work examining the intersection of music and gender. Koskoff collects new, revised, and hard-to-find published material from mid-1970s through 2010 to trace the evolution of ethnomusicological thinking about women, gender, and music, offering a perspective of how questions emerged and changed in those years, as well as Koskoff's reassessment of the early years and development of the field. Her goal: a personal map of the different paths to understanding she took over the decades, and how each inspired, informed, and clarified her scholarship. For example, Koskoff shows how a preference for face-to-face interactions with living people served her best in her research, and how her now-classic work within Brooklyn's Hasidic community inflamed her feminist consciousness while leading her into ethnomusicological studies.
An uncommon merging of retrospective and rumination, "A Feminist Ethnomusicology: Writings on Music and Gender "offers a witty and disarmingly frank tour through the formative decades of the field and will be of interest to ethnomusicologists, anthropologists, scholars of the history and development of feminist thought, and those engaged in fieldwork.
Includes a foreword by Suzanne Cusick framing Koskoff's career and an extensive bibliography provided by the author.

In many places around the world, flutes and the sounds of flutes are powerful magical forces for seduction and love, protection, vegetal and human fertility, birth and death, and other aspects of human and non-human behavior. This book explores the cultural significance of flutes, flute playing, and flute players from around the world as interpreted from folktales, myths, and other stories--in a word, "flutelore." A scholarly yet readable study, World Flutelore: Folktales, Myths, and Other Stories of Magical Flute Power draws upon a range of sources in folklore, anthropology, ethnomusicology, and literary analysis. Describing and interpreting many examples of flutes as they are found in mythology, poetry, lyrics, and other narrative and literary sources from around the world, veteran ethnomusicologist Dale Olsen seeks to determine what is singularly distinct or unique about flutes, flute playing, and flute players in a global context. He shows how and why world flutes are important for personal, communal, religious, spiritual, and secular expression and even, perhaps, existence. This is a book for students, scholars, and any reader interested in the cultural power of flutes.

From the rollicking welcome of A Festive Song to the defiant battle cry of Watchword of Labour, Songs Of Freedom accomplishes the difficult task of making contemporary music out of old revolutionary songs. In these arrangements, the inspired performance of a rocking band updates the timeless lyrics of James Connolly into timely manifestos for todays young rebels. As Connolly himself repeatedly urged, nothing can replace the power of music to raise the fighting spirit of the oppressed. The music ranges from traditional Irish airs to American rhythm and blues. 60 minutes

Perhaps now best known as an acclaimed (and bestselling) author of fiction, Joe Klein has for nearly three decades been one of contemporary journalism's premiere reporters. In "Woody Guthrie: A Life", Klein's signature style of insightful narrative nonfiction brings to life a vivid chapter in the history of American culture.

In 1998, the Woody Guthrie Foundation made public for the first time more than 10,000 of his papers, letters, song lyrics, and artworks, sparking renewed interest in the life of an American folk legend who influenced generations of musicians to come. The New York Times, reporting on the phenomenon, described Guthrie's appeal and legacy succinctly: "(Woody Guthrie was) one of the most influential cultural figures of the century. Guthrie inspired Bob Dylan and virtually created the modern folk tradition and singer-songwriter genre, and his music remains as vital today as when he was performing".

Born in Oklahoma in 1912, Guthrie spent his early years among the farmers and migrant workers of the dust bowl. As a young man during the Great Depression, he traveled across the country by boxcar with his guitar, composing the indelible folk ballads that made him a leader of the politically vital folk movement of the pre-war era. Tragically, the onset of Huntington's disease, gradually diminished his mind, body, and work, and led to his untimely death at the age of 55. Still, Guthrie's life and music have inspired every important folk and folk rock artist since, from Pete Seeger, Bob Dylan, and Joan Baez to Bruce Springsteen, Billy Bragg, and Ani DiFranco.

This thirtieth anniversary edition of Sound and Sentiment makes Steven Feld's landmark, field-defining book available to a new generation of scholars and students. A sensory ethnography set in the rain forest of Papua New Guinea, among the Kaluli people of Bosavi, Sound and Sentiment introduced the anthropology of sound, or the cultural study of sound. After it was first published in 1982, a second edition, incorporating additional field research and a new postscript, was released in 1990. The third edition includes all of the material from the first two editions, along with a substantial new introduction in which Feld discusses Bosavi's recent history and reflects on the challenges it poses for contemporary theory and representation.

On Jewish Music, partly a retrospective, is a collection of articles on the history of Jewish music and covers aspects of Jewish musical culture from the earliest days of musical activities in ancient Israel/Palestine through the centuries of the Diaspora to modern Israel. Especially stressed is the ethnic aspect of archaeological evidence from ancient Israel. Discussed are the place of iconography in renaissance Hebrew manuscripts, the art of klezmer music, musical life in the former Soviet Union, and the sociological aspects of musical life in modern Israel. The discussion is accompanied by illustrations of archaeological artifacts, Hebrew manuscript illuminations and music examples. The volume is accessible to interested readers and scholars alike.

While Western medicine has conventionally separated music, science, and religion into distinct entities, traditional cultures throughout the world have always viewed music as a bridge that connects the physical with the spiritual. Now, as people in even the most technologically advanced nations across the globe struggle with obtaining affordable and reliable healthcare coverage, more and more people are turning to these ancient cultural practices of ICAM healing (integrative, complementary, and alternative medicine).
With Beyond the Roof of the World, Dr. Benjamin D. Koen unearths the Western separation of healing from spiritual and musical practices as a culturally determined phenomenon, and proves the relevance of medical ethnomusicology in light of the globally spreading ICAM healing practices. Using the culture found within the towering Pamir Mountains of Badakhshan Tajikistan, in a place poetically known as the Roof of the World, as the paradigm of ICAM healing, Koen shows spirituality and musicality to be intimately intertwined with one's physical life, health and healing. For the first time, Koen bridges the widespread gap between ethnomusicology and music therapy. Koen's extensive research and emersion into the Badakhstan culture provides the reader with an "insider" perspective while maintaining an "observer's" view, as he infuses the text with relevant scholarship.

With Fairport Convention and solo, Sandy Denny displayed one of contemporary music's finest voices; she also composed her own material, including "Who Knows Where The Time Goes"--a huge U.S. hit for Judy Collins--and sang on Led Zeppelin IV. However, Sandy tragically got caught in a spiral of drink and drugs and died at age 31 in 1978. Best-selling Dylan biographer Heylin draws on hours of new interviews to tell Sandy's story.

From one of the most lauded scholars in ethnomusicology comes this enlightening and highly personal narrative on the evolution and current state of the field of ethnomusicology. Surveying the field he helped establish, Bruno Nettl investigates how concepts such as evolution, geography, and history serve as catalysts for advancing ethnomusicological methods and perspectives. This entertaining collection covers Nettl's scholarly interests ranging from Native American to Mediterranean to Middle Eastern contexts while laying out the pivotal moments of the field and conversations with the giants of its past. Nettl moves from reflections on the history of ethnomusicology to evaluations of the principal organizations in the field, interspersing those broader discussions with shorter essays focusing on neglected literature and personal experiences.

The volume presents current research in the field of Systematic Musicology at the Institute of Musicology, University of Hamburg. Internationally leading research like the unique 'Acoustic Camera' developed at the Institute or a real-time hardware implementation of Physical Modeling as well as important contributions to the field of Musical Neurocognition and Psychology, like Forensic Music Psychology, or the development of a Syllogistic Music Theory addresses hot topics in Systematic Musicology today. Der Band prasentiert die aktuelle Forschung der Systematischen Musikwissenschaft am Institut fur Musikwissenschaft, Universitat Hamburg. Bei der international fuhrenden Forschung, wie etwa der weltweit groessten 'Akustischen Kamera', welche am Institut entwickelt wurde, oder der Echtzeit-Hardware-Implementierung von physikalischer Modellierung wie auch bei wichtigen Beitragen auf den Gebieten der Musikalischen Neurokognition und Musikalischen Psychologie, z.B. der Forensischen Musikpsychologie oder der Entwicklung einer Syllogistischen Musiktheorie, handelt es sich um Schlusselthemen heutiger Musikwissenschaft.

Now known internationally through the recordings of King Sunny Ade and others, juju music originated more than fifty years ago among the Yoruba of Nigeria. This history and ethnography of juju is the first detailed account of the evolution and social significance of a West African popular music. Enhanced with maps, color photographs of musicians and dance parties, musical transcriptions, interviews with musicians, and a glossary of Yoruba terms, Juju is an invaluable contribution to scholarship and a boon to fans who want to discover the roots of this vibrant music. "What's most impressive about Juju is how much Waterman makes of his purism. By concentrating on one long- lived, well-defined genre, he helps the Western reader experience 'rock' the way any proud Yoruba would--as a tributary of African music rather than vice versa."--Robert Christgau, The Village Voice

Joni Mitchell is one of the foremost singer-songwriters of the late twentieth century. Yet despite her reputation, influence, and cultural importance, a detailed appraisal of her musical achievement is still lacking. Whitesell presents a through exploration of Mitchell's musical style, sound, and structure in order to evaluate her songs from a musicological perspective. His analyses are conceived within a holistic framework that takes account of poetic nuance, cultural reference, and stylistic evolution over a long, adventurous career.
Mitchell's songs represent a complex, meticulously crafted body of work. The Music of Joni Mitchell offers a comprehensive survey of her output, with many discussions of individual songs, organized by topic rather than chronology. Individual chapters each explore a different aspect of her craft, such as poetic voice, harmony, melody, and large-scale form. A separate chapter is devoted to the central theme of personal freedom, as expressed through diverse symbolic registers of the journey quest, bohemianism, creative license, and spiritual liberation.
Previous accounts of Mitchell's songwriting have tended to favor her poetic vision, expansive verse structures, and riveting vocal delivery. Whitesell fills out this account with special attention to musical technique, showing how such traits as complex or conflicting sonorities, dualities of harmonic mode, dialectical tensions of texture and register, intricately layered instrumental figuration, and a variable vocal persona are all essential to her distinctive identity as a songwriter. The Music of Joni Mitchell develops a set of conceptual tools geared specifically to Mitchell's songs, in order todemonstrate the extent of her technical innovation in the pop song genre, to give an account of the formal sophistication and rhetorical power characterizing her work as a whole, and to provide grounds for the recognition of her intellectual stature as a composer within her chosen field.

This ethnographic journey into the New York salsa scene of the 1990s offers detailed accounts of musicians grappling with intercultural tensions and commercial pressures. The author, himself an accomplished salsa musican, examines the organisational structures, recording processes, rehearsing and gigging of salsa bands.

In Music, Postcolonialism, and Gender, Leith Davis studies the construction of Irish national identity from the early eighteenth until the mid-nineteenth centuries, focusing in particular on how texts concerning Irish music, as well as the social settings within which those texts emerged, contributed to the imagining of Ireland as "the Land of Song." Through her considerations of Irish music collections by the Neals, Edward Bunting, and George Petrie; antiquarian tracts and translations by Joseph Cooper Walker, Charlotte Brooke, and James Hardiman; and lyrics and literary works by Sidney Owenson, Thomas Moore, Samuel Lover, and Dion Boucicault, Davis suggests that music served as an ideal means through which to address the ambiguous and ever-changing terms of the colonial relationship between Ireland and England. Davis also explores the gender issues so closely related to the discourses on both music and national identity during the time, and the influence of print culture and consumer capitalism on the representation of Irish music at home and abroad. She argues that the emergence of a mass market for culture reconfigured the gendered ambiguities already inherent in the discourses on Irish music and identity. Davis's book will appeal to scholars within Irish studies, postcolonial studies, gender studies, print culture, new British history, eighteenth- and nineteenth-century studies, and ethnomusicology.

In Music, Postcolonialism, and Gender, Leith Davis studies the construction of Irish national identity from the early eighteenth until the mid-nineteenth centuries, focusing in particular on how texts concerning Irish music, as well as the social settings within which those texts emerged, contributed to the imagining of Ireland as "the Land of Song." Through her considerations of Irish music collections by the Neals, Edward Bunting, and George Petrie; antiquarian tracts and translations by Joseph Cooper Walker, Charlotte Brooke, and James Hardiman; and lyrics and literary works by Sidney Owenson, Thomas Moore, Samuel Lover, and Dion Boucicault, Davis suggests that music served as an ideal means through which to address the ambiguous and ever-changing terms of the colonial relationship between Ireland and England. Davis also explores the gender issues so closely related to the discourses on both music and national identity during the time, and the influence of print culture and consumer capitalism on the representation of Irish music at home and abroad. She argues that the emergence of a mass market for culture reconfigured the gendered ambiguities already inherent in the discourses on Irish music and identity. Davis's book will appeal to scholars within Irish studies, postcolonial studies, gender studies, print culture, new British history, eighteenth- and nineteenth-century studies, and ethnomusicology.

Edith Fowke (1913-1996) was a renowned Canadian folklorist, folk song collector, researcher, writer, and teacher who during her long career recorded nearly two thousand songs. Awarded the Order of Canada in 1978 and named a Fellow of the Royal Society of Canada in 1983, Fowke's legacy is recognized by folk singers and scholars alike as the most comprehensive work in its field. Producing radio programs for the CBC throughout the 1950s and 1960s, she was responsible for discovering such eminent singers as LaRena Clark, Tom Brandon, and O. J. Abbott. O. J. Abbott was one of Fowke's most prolific singers, as she collected and recorded over 120 of his songs, 66 of them transcribed for this collection. The songs, mostly of Irish origin, were popular among settlers to the Ottawa valley and in the lumber camps of northern Ontario in the late 1800s. Born in England in 1872, Abbott worked throughout Ontario and Quebec in lumber camps before settling in Hull, Quebec. He recorded numerous records for the Folkways label and performed with such folk heroes as The Travellers, Ian and Sylvia, and Pete Seeger. Songs of the North Woods as sung by O.J. Abbott and collected by Edith Fowke includes a detailed musical analysis that outlines the meter, scale, and range of each song, an index that indicates where each song can be found on the original source tapes, and extensive field notes, interviews, and recording details.

David Schiller's study of the Jewish music of Bloch, Schoenberg, and Bernstein reveals how, in the mid-twentieth century, the problem of assimilation was acutely felt as the unfinished business of European Jewry, at a time when American Jewry was creating its own distinctive culture (albeit with European roots). He shows how the business of 'assimilating Jewish music' is as much a process audiences themselves engage in when they listen to Jewish music as it is something critics and musicologists do when they write about it. He reveals how this process of assimilation is performed by the music itself - that Jewish music assimilates into the Western tradition of art music when it appears in the form of concert genres like the oratorio, cantata, and symphony. This incisive study sheds new light on an important aspect of the cultural and aesthetic achievements of these seminal Jewish composers.

In the first full-length exploration of the contemporary and controversial Mexican corrido, award-winning author Elijah Wald blends a travel narrative with his search for the roots of this genre -- a modern outlaw music that fuses the sensibilities of medieval ballads with the edgy grit of gangsta rap.

From international superstars to rural singers documenting their local current events in the regions dominated by guerilla war, Wald visited these songwriters in their homes, exploring the heartland of the Mexican drug traffic and traveling to urban centers such as Los Angeles and Mexico City. The corrido genre is famous for its hard-bitten songs of drug traffickers and gunfights, and also functions as a sort of musical newspaper, singing of government corruption, the lives of immigrants in the United States, and the battles of the Zapatista rebellion in Chiapas. Though largely unknown to English speakers, corridos top the Latin charts and dominate radio playlists both in the United States and points south. Wald provides in-depth looks at the songwriters who have transformed groups like the popular Tigres del Norte into enduring superstars, as well as the younger artists who are carrying the corrido into the twenty-first century. In searching for the poetry and social protest behind the gaudy lyrics of powerful drug lords, Wald shows how popular music can remain the voice of a people, even in this modern world of globalization, electronic media, and gangsters who ship cocaine in 747s.

For a brief period from the late 1950s to the mid-1960s, folk music captured a mass audience in the United States, as college students and others swarmed to concerts by the likes of Peter, Paul & Mary, Joan Baez, and Bob Dylan. In this comprehensive study, Ronald D. Cohen reconstructs the history of this singular cultural moment, tracing its origins to the early decades of the twentieth century.

Drawing on scores of interviews and numerous manuscript collections, as well as his own extensive files, Cohen shows how a broad range of traditions -- from hillbilly, gospel, blues, and sea shanties to cowboy, ethnic, and political protest music -- all contributed to the genre known as folk. He documents the crucial work of John Lomax and other collectors who, with the assistance of recording companies, preserved and distributed folk music in the 1920s. During the 1930s and 1940s, the emergence of left-wing politics and the rise of the commercial music marketplace helped to stimulate wider interest in folk music. Stars emerged, such as Woody Guthrie, Leadbelly, Pete Seeger, Burl Ives, and Josh White. With the success of the Weavers and the Kingston Trio in the 1950s, the stage was set for the full-blown "folk revival" of the early 1960s.

Centered in New York's Greenwich Village and sustained by a flourishing record industry, the revival spread to college campuses and communities across the country. It included a wide array of performers and a supporting cast of journalists, club owners, record company executives, political activists, managers, and organizers. By 1965 the boom had passed its peak, as rock and roll came to dominate the marketplace, but the folk revival left an enduringmusical legacy in American culture.