"At Hame Wi' Freedom" marks the tenth anniversary of Hamish Henderson's death in 2002. It is the third book of a loose trilogy: "Borne on the Carrying Stream" (Grace Note Publications, 2010), followed by '"Tis Sixty Years Since" (Grace Note Publications, 2011) - all revolving around the life and legacy of Hamish Henderson and the Scottish Folk Revival he did so much to inspire and sustain.

At Hame wi' Freedom focuses on Hamish Henderson's involvement in the revival, his association with Perthshire and the North-East, the emergence of his poetic voice, and his political activism.

It also features Pino Mereu's poetic evocation of the Anzio (Beachhead) Pipe Band and the 2011 Hamish Henderson Memorial Lecture by Owen Dudley Edwards. Further contributions are from Eberhard Bort, Maurice Fleming, Fred Freeman, George Gunn, Tom Hubbard, Alison McMorland, Ewan McVicar, Hayden Murphy and Belle Stewart.

Praise for At Hame Wi' Freedom

HAMISH Henderson, poet, folklorist and genial patriarch of the Scottish folk revival, and Pink Floyd, iconoclasts of English psychedelia, might seem to offer little in common.

Yet in "At Hame Wi' Freedom," the third of a trilogy of essay collections celebrating Henderson's work, Pino Mereu's poem sequence Anzio Pipe Band is dedicated not only to Henderson's memory, but to that of Eric Waters, father of Pink Floyd founder member Roger Waters. Waters Snr, like Mereu's father, died during the Battle of Anzio in 1944.

At Anzio, Henderson formed a morale-boosting pipe band which entered Rome with the triumphant Allied forces. Mereu's poem in Italian, influenced by Henderson's Elegies For "The Dead In Cyrenaica" as well as by Pink Floyd's Final Cut, is accompanied by a Scots translation from Tom Hubbard.

Such unlikely connections come as no surprise in a book, edited by Eberhard Bort, containing some wonderfully circuitous discourses. None more so than Owen Dudley Edwards's lecture, ostensibly titled "Sectarian Songs," which before getting to grips with "The Ould Orange Flute," recounts how Henderson persuaded the future PM Gordon Brown of the importance of Antonio Gramsci, the Italian revolutionary writer.

Ten years on from Henderson's death, these essays reflect the sometimes bewildering variousness of the man, remembered with affection by poet Hayden Murphy, while accordionist Jim Bainbridge recalls a never-to-be forgotten visit to an early Blairgowrie festival. Alison McMorland's essay on the Fetterangus Stewarts taps into Henderson's championing of the Travellers as tradition-bearers, while George Gunn and Fred Freeman deal with his fluidity of language and the place of poets in general.

Maurice Fleming, born in the same road in Blairgowrie as Henderson, gives an insightful picture of the Perthshire which shaped the man and where, on the slopes of Ben Gulabin, overlooking his Glenshee birthplace, his ashes were scattered. Jim Gilchrist, "The Scotsman" >

Jamaica's rich culture is known the world over; and every aspect of this culture has been influenced by Jamaica's African heritage. From speech to dress, and spirituality to dance, from food to folklore and from music to art and religion, African retentions from the time of slavery have become more than preserved aspects of Jamaica's past; African traditions have become part and parcel of Jamaican culture. In this Reader, Coester and Bender have compiled some of the most important ethnographic work by noted researchers which, although previously published, have been exceptionally difficult to access by the growing community of scholars of African-Caribbean and Jamaican studies. Several seminal articles on aspects of African-Jamaican culture are included in this rich and valuable collection that describes and analyses the elements that make up a distinctive African-Jamaican ethos.

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 Miss McLeod's, the Merry Blacksmith, and The Silver Spear to tunes which may not be as well known at your local pub, such as Rakish Paddy and the Humours of Scariff. 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.

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

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

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 The Cup of Tea, the Maid Behind the Bar, and The Fermoy Lasses to tunes which may not be as well known at your local pub, such as The Pinch of Snuff and the Eel in the Sink. 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.

Recorded in 1949, "Foggy Mountain Breakdown" changed the face of American music. Earl Scruggs's instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass's entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television. Thomas Goldsmith explores the origins and influence of "Foggy Mountain Breakdown" against the backdrop of Scruggs's legendary career. Interviews with Scruggs, his wife Louise, disciple Bela Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs's musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of "Foggy Mountain Breakdown" helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.Passionate and long overdue, Earl Scruggs and Foggy Mountain Breakdown takes readers on an ear-opening journey into two minutes and forty-three seconds of heaven.

First found in Georgia at the beginning of the nineteenth century, in the Bahamas in the 1920's and 1950's, and popularized during the folk revival of the 1960's, variations of the song "Delia's Gone" have been in circulation for over a century. The murder of an obscure woman has been celebrated by bluesmen, country singers and folk singers across North America. But less well known is the fact that Delia was a real person. Here, for the first time, John Garth presents the full story of the crime behind the song.

Christy Moore is in every sense Ireland's folk hero. Mentor to a whole generation of Irish musicians, he holds a unique place in musical history. In l992 he broke all attendance records during 12 packed nights at the Point in Dublin. In the UK he fills concert halls around the country. In l997 he announced that he was taking an extended break from touring and recording. It was headline news in Ireland. So was his comeback which began in l999. Set to be an enormous best-seller, his autobiography marries both songs and memories. Around 250 of his favourite lyrics are accompanied by his memories around the song itself and his life. Each entry is fresh, direct, honest and spontaneous - like the most intimate diary. Through it he charts his life from drunk to sober, bar-room guitar player to international singer-songwriter.

There are thirty known and simple tunes in the book written only for a left hand. They are such melodious etudes for left hand independence. The book can be used for playing songs when you play one verse only by the left hand. But mostly take it as inspiration for your own playing what can be done with the left hand. All the Good Times Are Past Gone; Amcha Yisrael; Au clair de la Lune; Banks of the Ohio; Beautiful Brown Eyes; David Melech Yisrael; For He's a Jolly Good Fellow; Gimme Dat Ol'Time Religion; Go Tell Aunt Rhody; Hot Cross Buns I.; Hot Cross Buns II.; Iroquois Lullaby; Kum ba yah; London Bridge; Mary Had A Little Lamb; Michael, Row The boat Ashore; Oh, Freedom; Oh, When The Saints; Old MacDonald Had A Farm; Oranges and Lemons; Railroad Bill; Reuben's Train; Rock My Soul; Shema Yisrae; Steal Away; The Cruel War; This Old Man; Tom Dooley; Twinkle, Twinkle Little Star; Worried Man Blues Check out samples from books: http: //osos.sweb.cz/Preview-Anglo-concertina.pdf

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. Kenneth S. Goldstein; Margaret Bennett; Newfoundland Folklore Collection; songs of the Codroy Valley; Jerome Downey; Newfoundland-Irish Singer; Newfoundland Irish Folklore; Anthropology; the onset and progression of Alzheimer.

The music lover who is listening to Indian music for the first time is apt to be perplexed by his novel experience. He may protest that "It all sounds alike," that "They only have one tune," and in all seriousness finally ask, "But is it music?" Such honest reactions are not uncommon among the uninitiated. They are normal human responses to the unfamiliar and are not peculiarly related to Indian music. Similar questions have been raised about the art work of our best contemporary composers, artists, writers, and architects by those who are unable to view the new art in its social setting and to see it in its historic relationship with the past. Persons who would know more about the "first Americans," with whom our past three and a half centuries of history is so intimately connected, will find in Indian musical traditions a full, expressive revelation of the inner life of these interesting people. For the Indian, music is a medium of communication and contact with the supernatural, and since all the varied activities of life find their respective places in the Indian's cosmos, there are songs for every occasion. The hard and fast distinction between sacred and secular 'which we are accustomed to make loses its definiteness in the Indian's world. There are songs for the making of rain, Guardian Spirit songs for success in hunting, fishing, and gambling, songs for the protection of the home, the curing of the sick, lullabies, love songs, corn-grinding songs, social dance songs, and songs connected with legends. From this brief, functional listing, it will be noted that music was closely associated with the daily and seasonal activities of living. Though the Indian is not lacking in aesthetic enjoyment of his native music, he rarely regards it as something to listen to apart from its social and ceremonial function. For the open-minded, open-eared listener, Indian music is neither inaccessible nor difficult to enjoy. Patient and repeated hearings of these songs will gradually reveal the subtle, haunting beauty that is enfolded in their carefully modelled forms. Here one will find the same artistic features--color, symmetry and balance of form, bold, striking designs, logical unity and coherence of thought-that distinguish Indian painting, pottery, weaving, and silversmithing, so widely admired and enjoyed. Like the music of the Greeks, and like folk music in its purest, primeval form, Indian music is basically monophonic, single-lined. There are occasional excursions into heterophony whereby one voice or group of voices temporarily deviates from the melodic line of the song while others adhere to the established pattern. Such examples of part singing, however, are relatively rare. The simplicity of this monophonic music may fall strangely on ears that have been conditioned by the thick harmonic and contrapuntal texture, rich orchestration, and massive volume of our Western European music. Just as it becomes necessary to adjust one's aural perspective in turning from symphonic music to the more modest and economical medium of chamber music, so must one adjust one's listening for Indian music.

Roy Cape is a Trinidadian saxophonist active as a band musician for more than fifty years and as a bandleader for more than thirty. He is known throughout the islands and the Caribbean diasporas in North America and Europe. Part ethnography, part biography, and part Caribbean music history, "Roy Cape" is about the making of reputation and circulation, and about the meaning of labor and work ethics. An experiment in storytelling, it joins Roy's voice with that of ethnomusicologist Jocelyne Guilbault. The idea for the book emerged from an exchange they had while discussing Roy's journey as a performer and bandleader. In conversation, they began experimenting with voice, with who takes the lead, who says what, when, to whom, and why. Their book reflects that dynamic, combining first-person narrative, dialogue, and the polyphony of Roy's bandmates' voices. Listening to recordings and looking at old photographs elicited more recollections, which allowed Roy to expand on recurring themes and motifs. This congenial, candid book offers different ways of knowing Roy's labor of love--his sound and work through sound, his reputation and circulation as a renowned musician and bandleader in the world.

30 traditional Christmas Carols 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.
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.
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

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 long-awaited sequel to Gale Huntington's classic collection, Songs the Whalemen Sang, assembles more than 200 songs from whalemen's journals, log books, and popular music of the whaling era: whaling songs, sea songs, traditional ballads, popular songs, gospel songs, and a couple of fiddle tunes, nearly all accompanied by musical notation. It represents the culmination of Huntington's career as a collector, historian, writer and musician.

"The Power of Song" 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 nonviolent political action. More than 110 choral, rock, and folk songs are translated and interpreted in poetic, cultural, and historical context.

Guntis Smidchens is the Kazickas Family Endowed Professor in Baltic Studies in the Scandinavian studies department at the University of Washington.

"An excellent and thorough work and a significant and important addition to our understanding of the role that folklore and popular culture play in shaping political events." --Timothy Tangherlini, UCLA

"A monumental study addressing a sorely neglected aspect of one of the last century's most dramatic geopolitical upheavals. This book will stand, for years and even decades to come, as the standard, authoritative source on its topic." -Kevin C. Karnes, Emory University