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

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."

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.

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.

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.

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.

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 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.

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.

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 Dinky Dorian's, Morrison's, and Toss the Feathers to tunes which may not be as well known at your local pub, such as The Ivy Leaf and the Speed the Plough. 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.

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.

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)

The book contains 56 tunes for standard slide ukulele tuning (g-c-e-a). Irish slide ukulele? You are right it is unusual connection, but when you examine ukulele, you will find, it is completely determined for Irish music. It has a similar range like a whistle or a bagpipe. You can play either melody with whistle, fiddle and tenor banjo or accompaniment together with a guitar. As the ukulele is tuned high, we will use it in Irish music as a melodic instrument. Vast majority of this book is dedicated to this, where Irish tunes are transcribed in tablature Includes: Bonaparte Crossing the Rhine, Morrison's Jig, The Butterfly, In the Tap Room, Irish Washerwoman, Sailor's Hornpipe, Kesh Jig and many more... Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf 1) Gospel Slide Ukulele Solos 2) Comprehensive Slide Ukulele

"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" >

Recording is central to the musical lives of contemporary powwow singers yet, until now, their aesthetic practices when recording have been virtually ignored in the study of Native American expressive cultures. Recording Culture is an exploration of the Aboriginal music industry and the powwow social world that supports it. For twelve years, Christopher A. Scales attended powwows-large intertribal gatherings of Native American singer-drummers, dancers, and spectators-across the northern Plains. For part of that time, he worked as a sound engineer for Arbor Records, a large Aboriginal music label based in Winnipeg, Canada. Drawing on his ethnographic research at powwow grounds and in recording studios, Scales examines the ways that powwow drum groups have utilized recording technology in the late twentieth and early twenty-first centuries, the unique aesthetic principles of recorded powwow music, and the relationships between drum groups and the Native music labels and recording studios. Turning to "competition powwows," popular weekend-long singing and dancing contests, Scales analyzes their role in shaping the repertoire and aesthetics of drum groups in and out of the recording studio. He argues that the rise of competition powwows has been critical to the development of the powwow recording industry. Recording Culture includes a CD featuring powwow music composed by Gabriel Desrosiers and performed by the Northern Wind Singers.

BOOK ONLY (Audio CD available to buy on author's website). Learn to play Irish traditional music on the whistle with this tutor book from Tradschool 104 tunes (28 children's & folk songs + 76 traditional Irish tunes)
This book gives a complete introduction to playing Irish music in the traditional style on the tin whistle; it covers all from the very first notes on the instrument to the most advanced ornamentation.
The course is broadly divided into two parts, with the shorter first part covering the basics of the whistle while the longer second part (pages 49-296) covers the playing of Irish traditional music on the instrument.
It is intended for anybody who wants to play traditional music in the Irish style, from complete beginners to confirmed or advanced players who wish to work on their style or ornamentation. Tablature as well as sheet music is used throughout the book, so it is accessible to the complete beginner; while more advanced players will appreciate the attention to detail in style and ornamentation in the later parts of the book.
Contents
Introduction
Part One
Unit 1: Beginning the Whistle
Unit 2: Right Hand Notes
Unit 3: The Second Octave
Unit 4 - Scales
Unit 5 - Rhythm, Articulation & Breathing
Unit 6 - Putting it together 1
Part Two
Unit 7 - Irish Traditional Music
Unit 8 - Listening to Irish Music
Unit 9 - The Jig
Unit 10 - The Hornpipe
Unit 11 - The Reel
Unit 12 - Ornamentation
Ornamentation 1 - The Cut
Ornamentation 2 - The Tap
Ornamentation 3 - The Slide
Ornamentation 4 - The Roll
Ornamentation 5 - The Short Roll
Ornamentation 6 - The Triplet
Ornamentation 7 - The Bounce
Ornamentation 8 - The Cran
Ornamentation 9 - Combining Ornaments
Ornamentation 10 - Staccato Triplets
Ornamentation 11 - Summary
Unit 13 - Other tunes
Unit 14 - Playing in different keys
Unit 15 - Playing Irish Music
Unit 16 - Putting It Together 2
Unit 17 - Tunes
Appendix 1 - Troubleshooting
Appendix 2 - Reading Music
Appendix 3 - Bibliography
Appendix 4 - Tracklist

First published in 1932, Cecil Sharp's English Folk-Songs from the Southern Appalachians contains 274 songs -- ballads, songs, hymns, nursery songs, jigs, and play-party games -- with 968 tunes, collected between 1916 and 1918 from traditional singers in the mountains of Virginia, North Carolina, Kentucky, and Tennessee. It remains one of the foundational collections of American folk music.