This unique volume is the only book solely about antebellum American fiddling. It includes more than 250 easy-to-read and clearly notated fiddle tunes alongside biographies of fiddlers and careful analysis of their personal tune collections. The reader learns what the tunes of the day were, what the fiddlers' lives were like, and as much as can be discovered about how fiddling sounded then. Personal histories and tunes' biographies offer an accessible window on a fascinating period, on decades of growth and change, and on rich cultural history made audible. In the decades before the Civil War, American fiddling thrived mostly in oral tradition, but some fiddlers also wrote down versions of their tunes. This overlap between oral and written traditions reveals much about the sounds and social contexts of fiddling at that time. In the early 1800s, aspiring young violinists maintained manuscript collections of tunes they intended to learn. These books contained notations of oral-tradition dance tunes - many of them melodies that predated and would survive this era - plus plenty of song melodies and marches. Chris Goertzen takes us into the lives and repertoires of two such young men, Arthur McArthur and Philander Seward. Later, in the 1830s to 1850s, music publications grew in size and shrunk in cost, so fewer musicians kept personal manuscript collections. But a pair of energetic musicians did. Goertzen tells the stories of two remarkable violinist/fiddlers who wrote down many hundreds of tunes and whose notations of those tunes are wonderfully detailed, Charles M. Cobb and William Sidney Mount. Goertzen closes by examining particularly problematic collections. He takes a fresh look at George Knauff's Virginia Reels and presents and analyzes an amateur musician's own questionable but valuable transcriptions of his grandfather's fiddling, which reaches back to antebellum western Virginia.

2 books & a CD. This study provides a comprehensive description of the rich song culture of the people in the Thule area in Greenland, the Inughuit. In 1937 the archaeologist and folklorist Erik Holtved recorded 134 traditional songs in Thule. Transcriptions and scientific processing of this collection constitute the nucleus of the work. Another collection of Inughuit songs was recorded in 1962 for The Danish Folklore Archives by Bent Jensen and the author. The songs from both collections are presented and notated in full length and also with analyses of a representative stanza from each song. Descriptions are given of performing habits, singing methods, drum construction and handling, as well as historical and recent data. Searching for resemblances among other Inuit groups produced transcriptions and analyses of many traditional Inuit Songs from different localities in Canada. It was discovered that characteristic traits of the form and melody types of the Inughuit are linked to Canadian Inuit groups in southern Baffin Island and among the Copper Inuit in northern Canada, documenting particular areas of origin, and also giving information about migration routes. Many of the songs are presented on the enclosed CD

In this book Sara Le Menestrel explores the role of music in constructing, asserting, erasing, and negotiating differences based on the notions of race, ethnicity, class, and region. She discusses established notions and brings to light social stereotypes and hierarchies at work in the evolving French Louisiana music field. She also draws attention to the interactions between oppositions such as black and white, urban and rural, differentiation and creolization, and local and global. Le Menestrel emphasizes the importance of desegregating the understanding of French Louisiana music and situating it beyond ethnic or racial identifications, amplifying instead the importance of regional identity. Musical genealogy and categories currently in use rely on a racial construct that frames African and European lineage as an essential difference. Yet as the author samples music in the field and discovers ways music is actually practiced, she reveals how the insistence on origins continually interacts with an emphasis on cultural mixing and creative agency. This book finds French Louisiana musicians navigating between multiple identifications, musical styles, and legacies while market forces, outsiders' interest, and geographical mobility also contribute to shape musicians' career strategies and artistic choices. The book also demonstrates the decisive role of non-natives' enthusiasm and mobility in the validation, evolution, and reconfiguration of French Louisiana music. Finally, the distinctiveness of South Louisiana from the rest of the country appears to be both nurtured and endured by locals, revealing how political domination and regionalism intertwine.

So many who love to sing are drawn to the immediacy and essential simplicity of the music we commonly call folk. Folk music, in fact, can serve as the perfect entry point for those just starting on their singing careers because of the ways in which it sidesteps the strictures of classical forms without giving up the fundamentals of professional singing techniques. In So You Want to Sing Folk Music, singer and writer Valerie Mindel demystifies this sprawling genre, looking at a variety of mainly traditional American musical styles as well as those of the folk revival that continues in various forms to this day. The aim is to help the fledgling singer better understand the scope of folk music and find his or her voice in the genre, looking at the "how" of creating a vocal sound that reflects a folk-based style. The book looks at specific repertories and ways of approaching them in terms of both working up material and performing it. It also looks at some of the realities of folk music in the twenty-first century that affect both amateurs and professionals. Additional chapters by Scott McCoy, Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Folk Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

With Bob Dylan's receipt of the Nobel Prize in Literature, his iconic status as an American musical, cultural, and poetic giant has never been more apparent. Bob Dylan: American Troubadour is the first book to look at Dylan's career, from his first album to his late masterpiece Tempest. Donald Brown provides insightful critical commentary on Dylan's prolific body of work, placing Dylan's career in the context of its time in order to assess the relationship of Dylan's music to contemporary American culture. Each chapter follows the shifting versions of Dylan, from his songs of conscientious social involvement to more personal exploratory songs; from his influential rock albums of the mid-1960s to his adaptations of country music; from his three very different tours in the 1970s to his "born again" period as a proselytizer for Christ and his frustrations as a recording and performing artist in the 1980s; from his retrospective importance in the 1990s to the refreshingly vital albums he has been producing in the twenty-first century. Bob Dylan: American Troubadour will engage not only Dylan fans and students of his work but also those interested in American popular music, history, and culture. Anyone who has been touched, challenged, or surprised by a Dylan song will enjoy this concise and informed critical exploration of Dylan's music and his place in the American musical landscape.

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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Transatlantic Roots Music presents a collection of essays on the debates about origins, authenticity, and identity in folk and blues music. These essays originated in an international conference on the Transatlantic paths of American roots music, out of which emerged common themes and questions of origins and authenticity in folk music, be it black or white, American or British. While the central theme of the collection is musical influences, issues of national, local, and racial identity are also recurring subjects. Were these identities invented, imagined, constructed by the performers, or by those who recorded the music for posterity?The book features a new essay on the blues by Paul Oliver alongside an essay on Oliver's seminal blues scholarship. There are also several essays on British blues and the links between performers and styles in the United States and Britain. And there are new essays on critical figures such as Alan Lomax and Woody Guthrie. This volume uniquely offers perspectives from both sides of the Atlantic on the interplay of influences in roots music and the debates about these subjects. The book draws on the work of eminent, established scholars and emerging, young academics who are already making a contribution to the field. Throughout, contributors offer the most recent scholarship available on key issues.

This book shows how the people of Estonia, Latvia, and Lithuania confronted a military superpower and achieved independence in the Baltic "Singing Revolution". When attacked by Soviet soldiers in public displays of violent force, singing Balts maintained faith in non-violent political action. As an inspiration to all nations, the non-violent Baltic independence movement revolutionised each country through singing and smiling. The "Singing Revolution" is indeed the essence of the Baltic way, and began in 1987 as a public revolt against Soviet restrictions on free speech and assembly. The revolutions and following elections in 1990 resulted in three separate governments and a declaration of independence from the Soviet Union. The book seeks to answer questions such as why the struggle for Baltic independence came to be called the Singing Revolution? What did they sing? And what role did singing play in the Estonian, Latvian, and Lithuanian campaigns of political mobilisation and non-violent action? Furthermore, and uniquely for this publication, it explores, in great depth, the songs that gave the revolution its name, translating and interpreting over 110 choral, rock, and folk songs in their poetic, cultural, and historical context.