Folk-Songs of the South: Collected Under the Auspices of the West Virginia Folk-Lore Society is a collection of ballads and folk-songs from West Virginia. First published in 1925, this resource includes narrative and lyric songs that were transmitted orally, as well as popular songs from print sources. Through 186 ballads and songs and 26 folk tunes, this collection archives a range of styles and genres, from English and Scottish ballads to songs about the Revolutionary and Civil Wars, the opening of the American West, boat and railroad transportation, children's play-party and dance music, and songs from African American singers, including post-Civil war popular music. The original introduction by Cox contains vibrant portraits of the singers he researched, with descriptions of performance style and details about personalities and attitudes. With a new introduction by Alan Jabbour, this reprint renews the importance of this text as a piece of scholarship, revealing Cox's understanding of the workings of tradition across time and place and his influence upon folk-song research.

Robert Burns (1759-1796) belongs among most famous Scottish poets, who were touched by Romantic interest in their own culture. Therefore, he was interested in Scottish folk song. He collected and prepared it to be published. When he was unsatisfied with lyrics in some of the songs, he revised it and arranged or wrote new lyrics on a former music. That is why many songs could be resurrected to life. And even though today we do not know the authors of the original music, at least we know the author of the lyrics. Therefore, we can play them on the ukulele and admire the beautifully arched melodies. Ae Fond Kiss, A Highland Lad my Love was Born, A Man's A Man For A' That, Auld Lang Syne, Braw, Braw Lads, Comin' Thro' the Rye, Craigieburn Wood, For The Sake O' Somebody, Gae Bring to Me a Pint o' Wine, Highland Mary, Lassie Wi' The Lint White Locks, Last May a Braw Wooer, My Ain Kind Dearie O, My Heart's In The Highlands, My Love is Like a Red, Red Rose, My Love She's But A Lassie Yet, My Tocher's the Jewel, O Willie Brew'd a Peck o' Maut, Scots, Wha Hae, Tam Glen, The Birks of Aberfeldy, The Braes of Killiecranchie, The Gallant Weaver, The Highland Widow's Lament, The Soldier's Return, The Winter It Is Past, There was a Lad was Born in Kyle, Wandering Willie, Whistle O'er the Lave O't, Ye Banks and Braes. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

30 traditional nursery rhymes with sheet music and fingering diagrams for Irish tin whistle. Simple, easy-to-follow arrangements of classic songs that kids will love.
Without any prior musical knowledge, you can immediately start playing your first tunes.
Oh, Dear, What Can The Matter Be?
Old King Cole
Baa, Baa, Black Sheep
The Mulberry Bush
Row, Row, Row Your Boat
Twinkle, Twinkle, Little Star
Rock-a-bye Baby
Rain, Rain, Go Away
Ten Little Indians
Three Blind Mice
Hush Little Baby
The Grand Old Duke of York
Mary Had a Little Lamb
Head, Shoulders, Knees and Toes
Bingo
Oranges and Lemons
Bobby Shaftoe
This Old Man
Ten Green Bottles
Old MacDonald
Little Bo Peep
Polly Put the Kettle On
Hey, Diddle Diddle
The Wheels on the Bus
The Muffin Man
Eensy Weensy Spider
Sing a Song of Sixpence
One Man Went to Mow
Three Little Kittens
Hot Cross Buns
The tin whistle (sometimes called pennywhistleor simply whistle) is a small 6-holed flute, that in its present form dates from the 19 th century. Because of its affordable price and ease of use it is the most common folk instrument in Ireland, and is often the instrument of choice for beginners and children.
The tunes in this book, and in the other books of the collection, were chosen and arranged to allow even an absolute beginner to start playing straight away, without any technical knowledge of sheet music or musical theory. Fingering tablatures are provided with every tune; an accompanying audio CD of the tunes in the book is also available, and is even recommended to favour learning by ear.

The transplantation of African musical cultures to the Americas was a multi-track and multi-time process. In the past many historical studies of African diaspora music, dance and other aspects of expressive culture concentrated on events in the Americas. What happened before the American trauma and simultaneously in Africa was often looked at unhistorically. In this book, world-renowned ethnomusicologist Gerhard Kubik considers African music and dance forms as the products of people living in various African cultures which have changed continuously in history, absorbing and processing elements from inside and outside the continent, creating new styles and fashions all the time. African diaspora music then appears as a consequent and creative extension overseas of African musical cultures that have existed in the period between the sixteenth and the twentieth century. From this perspective African diaspora music cannot be described adequately in terms of "retentions" and "survivals," as if African cultures in the Americas were doomed from the outset and perhaps only by some act of mercy permitted to "retain" certain elements. Using field research and documentary sources, Kubik tracks down some aspects of the Angolan dimension in the panorama of African music and dance cultures in Brazil, and also addresses methodology applicable in the wider context of African diaspora cultural studies.

The ukulele managed to spread worldwide as well as Jewish music before. Moreover, Jewish music achieved to absorb different folk music, mostly European. For the reason you can meet here with beautiful melodies in minor, which are not scales preferred by ukulele playing. You can find in book here 20 Jewish songs. Each song is arranged in two keys. What you need is to know your favorite key, maybe take a capo and start playing. Adon Olam; Amcha Jisrael; Artsa Alinu; Avinu Malkeinu; Chiribim Chiribom; Dajenu; David Melech Yisrael; Hanukkah, Hanukkah; Hava Nagila; Hevenu Shalom Aleichem;Hine Ma Tov; Chag Purim; Kadesh Urchac; Ner Li; Nerot Shabat; Shalom Chaverim; Sevivon; Shema Israel;Tum Balalaika; Yoshke Fort Avek. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

Fado, Portugal's most celebrated genre of popular music, can be heard in Lisbon clubs, concert halls, tourist sites, and neighborhood bars. Fado sounds traverse the globe, on internationally marketed recordings, as the "soul" of Lisbon. A "fadista" might sing until her throat hurts, the voice hovering on the break of a sob; in moments of sung beauty listeners sometimes cry. Providing an ethnographic account of Lisbon's""fado scene, Lila Ellen Gray draws on research conducted with amateur fado musicians, "fadistas," communities of listeners, poets, fans, and cultural brokers during the first decade of the twenty-first century. She demonstrates the power of music to transform history and place into feeling in a rapidly modernizing nation on Europe's periphery, a country no longer a dictatorship or an imperial power. Gray emphasizes the power of the genre to absorb sounds, memories, histories, and styles and transform them into new narratives of meaning and "soul."

The well-known folk song "Johnny, I Hardly Knew Ye" is widely regarded as a traditional Irish anti-war song which was later rewritten as the pro-war "When Johnny Comes Marching Home." Jonathan Lighter, Lecturer in English at the University of Tennessee and editor of the Historical Dictionary of American Slang, reveals the surprising history of "Johnny," uncovering its roots and tracing its ever-changing role in popular culture up to the present day.

Ruth Crawford Seeger (1901-1953), distinguished musician, noted music educator and authority on folk music has assembled a collection of songs from the old-time Christmas, before Santa Claus came to America and neatly trimmed fir trees bloomed with tinsel. These are the folk songs, the ballads that sprang from a need to express the Christmas spirit, and they are a part of our heritage. The songs are as varied as the singers who have given them utterance over the years, but whether they dance with whimsy or echo with a haunting plaintive cry, they always express the wonder and joy of Christmas. Arranged for piano and guitar.

Sometime in the early nineteenth century, most likely in the year 1818, the Reverend Robert Scott, minister of the parish of Glenbuchat in Aberdeenshire, Scotland, compiled a collection of traditional ballads that until now has not been published. Most of the ballad collections produced during the Scottish Romantic Revival were eventually anthologized in Francis James Child's seminal "English and Scottish Popular Ballads" (five volumes, 1882-96). Yet, the Glenbuchat manuscripts, containing sixty-eight ballads in four folio volumes, were not included in Child's volumes. The complete work only came to light in 1949 when it was donated to the Special Collections of the Aberdeen University Library by a descendent of the original compiler.

Scott did not give the precise locations of where he collected his ballads or name the performers, but the texts are unique and appear to have been drawn from oral sources. As such, the ballads reveal a great deal about the nature of traditional music at the time they were collected.

"The Glenbuchat Ballads" were originally prepared for publication by David Buchan, one of the leading ballad scholars of the twentieth century. Upon Buchan's death, his former student James Moreira took up and completed his work and wrote the detailed introductory essay and annotations in this volume.

Fado, Portugal's most celebrated genre of popular music, can be heard in Lisbon clubs, concert halls, tourist sites, and neighborhood bars. Fado sounds traverse the globe, on internationally marketed recordings, as the "soul" of Lisbon. A fadista might sing until her throat hurts, the voice hovering on the break of a sob; in moments of sung beauty listeners sometimes cry. Providing an ethnographic account of Lisbon's fado scene, Lila Ellen Gray draws on research conducted with amateur fado musicians, fadistas, communities of listeners, poets, fans, and cultural brokers during the first decade of the twenty-first century. She demonstrates the power of music to transform history and place into feeling in a rapidly modernizing nation on Europe's periphery, a country no longer a dictatorship or an imperial power. Gray emphasizes the power of the genre to absorb sounds, memories, histories, and styles and transform them into new narratives of meaning and "soul."

Klezmer in Europe has been a controversial topic ever since this traditional Jewish wedding music made it to the concert halls and discos of Berlin, Warsaw, Budapest and Prague. Played mostly by non-Jews and for non-Jews, it was hailed as "fakelore," "Jewish Disneyland" and even "cultural necrophilia." Klezmer's Afterlife is the first book to investigate this fascinating music scene in Central Europe, giving voice to the musicians, producers and consumers of the resuscitated klezmer. Contesting common hypotheses about the klezmer revival in Germany and Poland stemming merely from feelings of guilt which emerged in the years following the Holocaust, author Magdalena Waligorska investigates the consequences of the klezmer boom on the people who staged it and places where it occurred. Offering not only a documentation of the klezmer revival in two of its European headquarters (Krakow and Berlin), but also an analysis of the Jewish / non-Jewish encounter it generates, Waligorska demonstrates how the klezmer revival replicates and reinvents the image of the Jew in Polish and German popular culture, how it becomes a soundtrack to Holocaust commemoration and how it is used as a shining example of successful cultural policy by local officials. Drawing on a variety of fields including musicology, ethnomusicology, history, sociology, and cultural studies, Klezmer's Afterlife will appeal to a wide range scholars and students studying Jewish culture, and cultural relations in post-Holocaust central Europe, as well as general readers interested in klezmer music and music revivals more generally.

Songs from the Magical Tradition makes no assertions other than the fact that there is a very strong element of supernatural magic contained within a substantial part of the Britsh folk song tradition. Ancient tunes and lyrics that transcend time have a meaning and significance that has hardly been guessed at till now. Jerry shows us the history and interpretation of the lovely old music that we all share. Songs from the Magical Tradition presents an anthology of songs, along with extensive notes on their historical context, imagery, and possible origins. No firm conclusions are drawn, and the reader is left to decide for themselves how relevant the songs might be in the wider contexts of paganism and magic.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

Robert Burns (1759-1796) belongs among most famous Scottish poets, who were touched by Romantic interest in their own culture. Therefore, he was interested in Scottish folk song. He collected and prepared it to be published. When he was unsatisfied with lyrics in some of the songs, he revised it and arranged or wrote new lyrics on a former music. That is why many songs could be resurrected to life. And even though today we do not know the authors of the original music, at least we know the author of the lyrics. Therefore, we can play them on the Anglo Concertina (30-Button Wheatstone Lachenal System) and admire the beautifully arched melodies. Ae Fond Kiss, A Highland Lad my Love was Born, A Man's A Man For A' That, Auld Lang Syne, Braw, Braw Lads, Comin' Thro' the Rye, Craigieburn Wood, For The Sake O' Somebody, Gae Bring to Me a Pint o' Wine, Highland Mary, Lassie Wi' The Lint White Locks, Last May a Braw Wooer, My Ain Kind Dearie O, My Heart's In The Highlands, My Love is Like a Red, Red Rose, My Love She's But A Lassie Yet, My Tocher's the Jewel, O Willie Brew'd a Peck o' Maut, Scots, Wha Hae, Tam Glen, The Birks of Aberfeldy, The Braes of Killiecranchie, The Gallant Weaver, The Highland Widow's Lament, The Soldier's Return, The Winter It Is Past, There was a Lad was Born in Kyle, Wandering Willie, Whistle O'er the Lave O't, Ye Banks and Braes. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/Preview-Anglo-concertina.pdf

(Piano/Vocal/Guitar Artist Songbook). An outstanding collection of songs by one of the world's greatest singer/songwriters. Includes: Father and Son * Wild World * Morning Has Broken * and more. All eleven songs are arranged for piano and voice with full guitar boxes and chord symbols.

Robert Burns (1759-1796) belongs among most famous Scottish poets, who were touched by Romantic interest in their own culture. Therefore, he was interested in Scottish folk song. He collected and prepared it to be published. When he was unsatisfied with lyrics in some of the songs, he revised it and arranged or wrote new lyrics on a former music. That is why many songs could be resurrected to life. And even though today we do not know the authors of the original music, at least we know the author of the lyrics. Therefore, we can play them on the Anglo Concertina (20 Button C/G) and admire the beautifully arched melodies. Ae Fond Kiss, A Highland Lad my Love was Born, A Man's A Man For A' That, Auld Lang Syne, Braw, Braw Lads, Comin' Thro' the Rye, Craigieburn Wood, For The Sake O' Somebody, Gae Bring to Me a Pint o' Wine, Highland Mary, Lassie Wi' The Lint White Locks, Last May a Braw Wooer, My Ain Kind Dearie O, My Heart's In The Highlands, My Love is Like a Red, Red Rose, My Love She's But A Lassie Yet, My Tocher's the Jewel, O Willie Brew'd a Peck o' Maut, Scots, Wha Hae, Tam Glen, The Birks of Aberfeldy, The Braes of Killiecranchie, The Gallant Weaver, The Highland Widow's Lament, The Soldier's Return, The Winter It Is Past, There was a Lad was Born in Kyle, Whistle O'er the Lave O't, Ye Banks and Braes. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/Preview-Anglo-concertina.pdf

Cumbia is a musical form that originated in northern Colombia and then spread throughout Latin America and wherever Latin Americans travel and settle. It has become one of the most popular musical genre in the Americas. Its popularity is largely due to its stylistic flexibility. Cumbia absorbs and mixes with the local musical styles it encounters. Known for its appeal to workers, the music takes on different styles and meanings from place to place, and even, as the contributors to this collection show, from person to person. Cumbia is a different music among the working classes of northern Mexico, Latin American immigrants in New York City, Andean migrants to Lima, and upper-class Colombians, who now see the music that they once disdained as a source of national prestige. The contributors to this collection look at particular manifestations of cumbia through their disciplinary lenses of musicology, sociology, history, anthropology, linguistics, and literary criticism. Taken together, their essays highlight how intersecting forms of identity-such as nation, region, class, race, ethnicity, and gender-are negotiated through interaction with the music. Contributors. Cristian Alarcon, Jorge Arevalo Mateus, Leonardo D'Amico, Hector Fernandez L'Hoeste, Alejandro L. Madrid, Kathryn Metz, Jose Juan Olvera Gudino, Cathy Ragland, Pablo Seman, Joshua Tucker, Matthew J. Van Hoose, Pablo Vila

Shaped by the processes of migration, diasporization and cosmopolitanization, musical performance conditions and contexts constantly change, while new musical forms emerge and evolve. The development of Turkish folk music is well-documented and provides rich material for study in the motherland and in the diaspora. This book explores, describes, interprets and links musical, contextual and functional aspects of Turkish folk music in contemporary Turkey and the Turkish diaspora in the Belgian city of Ghent. The Turkish presence in Ghent is particularly interesting in its size (approximately ten per cent of the population) and constitution (mostly originating in the West Anatolian town of Emirdag). Anchored in detailed ethnographic reality, this book expands our views on what Turkish folk music signifies in the early twenty-first century, and adds to the understanding and appreciation of this multifaceted, topical musical phenomenon. This book's multi-sited, transnational and comparative outlook is unique, with an added dimension generated by the inclusion of rural and small-town contexts that complement the urban perspective. It makes new contributions to scholarship in this area by including the transcription and analysis of performance styles, the evaluation of Turkish Radio and Television discourses and practices, and the exploration of understudied research contexts of Ghent and Emirdag.

Gospel Ukulele Solos - for C tuning. Sacred music is often played. Plenty of song-books exist. And the singer may accompany on the ukulele. But the problem occurs when he/she plays a solo. For the reason the book was written. You can find here 27 gospels and spirituals. Each song is arranged in two keys. What you need is to know your favorite key, take a capo and start playing, singing and worshiping our Lord. Includes: The Angel Rolled the Stone Away, Go down Moses, Joshua Fit the Battle of Jericho, Swing Low, Sweet Chariot, Oh, When the Saints, Steal Away, Mary had a baby and many more? The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pd

Jolly Sailors Bold: Ballads and Songs of the American Sailor is a major anthology of folk songs and parlor songs excavated from nine-teenth-century sailors' shipboard journals. The author-editor-compiler is Stuart M. Frank, senior curator of the world-famous New Bedford Whaling Museum, executive director emeritus of the Kendall Whaling Museum, and renowned authority on sailor songs and shipboard music. The product of more than thirty years of research, this book features authentic historic renditions of more than two hundred songs, with texts recovered unchanged from historic nineteenth-century shipboard manuscripts, here reunited with their original melodies.

Being continually featured in popular movies and music, Irish music is as popular as ever. Compiled by Gregory Mahan, an Irish whistler since 1995, this collection offers a wide variety of reels, from well-known favorites such as Cooley's Reel, The Musical Priest, and The Sally Gardens to tunes which may not be as well known at your local pub, such as Dunmore Lasses and the West Wind. The sheet music in this book is suitable for any lead line instrument typically used in Irish music, such as fiddle, flute, tinwhistle, and uilleann pipes. Also includes notes on playing in the Irish style as an added bonus, as well as an updated introduction from his Celtic Jig series.

In the early 1700s, the Danish administration of the Virgin Islands suppressed African music. Undeterred, Virgin Island minstrels combined the African, European, and Taino music elements that created the eclectic genre quelbe. In The Quelbe Method, Dale Francis offers a comprehensive approach that demystifies music, develops artistry in tandem with fundamentals, and provides repertoire to build musicianship and individual performance skills.

Francis shares his classical and jazz guitar skills, teaching practices, and performing artist perspective in an innovative approach to learning music. The three-part arrangements are open to interpretation and variation. Part two simulates the banjo, ukulele or guitar sound, and part three portrays a bass pattern that can be played on a one-string washtub bass. Students can learn cultural rhythmic, melodic, and harmonic concepts in addition to learning to play melodies and chord progressions by ear.

The Quelbe Method provides a comprehensive approach to learning music through practical theory, ear training, rhythm, technique, and performance activities, enabling both adult and young musicians to further develop their abilities to read and write music, play by ear, and improvise.

Jerome Just one more Song! A Local, Social & Political History in the Repertoire of a Newfoundland-Irish Singer. This timeless Songs collection, recorded in Codroy Valley, Newfoundland, 1980 by folklorists Kenneth S. Goldstein and Margaret Bennett , is a tribute to singer Jerome Downey. This is not only a song book but is a Local, Social & Political History of Newfoundland's Codroy Valley. To appreciate the way of life in any part of Newfoundland, the reader should bear in mind that, until 1949, Canada was another country. Anyone born before that year, is, first and foremost, a Newfoundlander, belonging to a unique island with a long history - it has the distinction of being Britain's oldest colony. Given that Canada's newest province was less than twenty years old when Bennett first went there, it was very common to hear folk explain, 'I'm not a Canadian, I'm a Newfoundlander.' Thus, to understand the social, cultural and historical context of a song, it is essential to appreciate where it comes from, and especially to acknowledge the people who compose and sing the song. 'If there is no land or work, there are no people, no livelihood, no stories, no music, no songs - ' (Gavin Sprott) In the Codroy Valley, the folk who have worked on the land or fished the rivers and coastal waters for nearly two centuries are a mix of Irish, English, Scottish Gaels, French and Mi'kmaq. For as long as anyone remembers, they have enjoyed getting together for 'a few tunes', songs, yarns and a cup of tea. The kettle is always on the stove and, more often than not, a few glasses appear from the cupboard and make their way to the kitchen table - they need no excuse for a ceilidh or a kitchen party, with accordions, bagpipes, fiddles, guitars, spoons and mandolins as well as songs that would lift the heaviest heart. To Jerome and his people, songs and music are way of life. THE PITCH Kenneth S. Goldstein and Margaret Bennett Folklore Collection. Margaret Bennett's third book about songs of the Codroy Valley, Newfoundland A lasting tribute the the remarkable Jerome Downey, singer, farmer and woodsman of the Codroy Valley. Jerome Just one more Song! Local, Social & Political History in the Repertoire of a Newfoundland-Irish Singer Academic fields likely to be interested in using this publication? Folklore Anthropology Medicine, in the field of mental health (particularly pertaining to memory, the retention and/or loss of memory, the onset and progression of Alzheimer's disease Countries in which academics are likely to be interested in this publication? Canada, the United Kingdom, Ireland, USA, Australia (English language countries)

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.