Relevant bibliographies by topics / Fiddle Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Fiddle Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Fiddle Music"

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Kristensen, Bjørn Sverre. "Arne Garborg og fela." Musikk og Tradisjon 34 (December 31, 2020): 25. http://dx.doi.org/10.52145/mot.v34i.1922.

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The Norwegian author Arne Garborg (1851-1924) was one of Europe's foremost intellectuals with a production of novels, short stories, poetry and articles, covering many fields and with a vast number of readers both in Norway and elsewhere. As a young man Garborg had learnt to play the fiddle. Later on, he learnt to play the Hardanger fiddle. The Norwegian public debate at the turn of the previous century witnessed a polarization between rural and urban ideological values, and Arne Garborg became the main spokesman for the rural part. The article raises two questions: What does one actually know about Arne Garborg's fiddle playing? In what ways did the (Hardanger) fiddle and folk music influence Garborg's life and ideological standpoints? This article follows two perspectives. First; music and fiddle playing seems to have been Garborg's lifelong companions. Secondly; the Norwegianism movement, which Garborg became the main spokesman for, became a leading factor in the Norwegian public debate more or less at the same time as the Hardanger fiddle gained status as Norway's national instrument. Drawing on different types of sources (written, graphic, and eyewitness), this article investigates the presence of music in Garborg's life and shows that he can be regarded as a good amateur musician capable of expressing himself on both the fiddle and the Hardanger fiddle, and with a solid knowledge of Norwegian folk music. This opens for reflections regarding to what extent Arne Garborg may have looked upon folk music, folk dance, fiddle and Hardanger fiddle playing as vital parts of rural values worth pursuing for the Norwegianism movement.
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McDavid, Jodi. "The Fiddle Burning Priest of Mabou." Ethnologies 30, no. 2 (February 16, 2009): 115–36. http://dx.doi.org/10.7202/019948ar.

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Father Kenneth MacDonald was the priest of Mabou, Cape Breton, from 1865-1894. Written accounts detail him as a strict disciplinarian and social advocate: against the consumption of alcohol; disliking picnics; and telling parishioners how to vote. But the written word seems to leave out the one event that locals still discuss: how he went door to door and burnt their fiddles. Although a small rural town, Mabou is one of cultural importance in Cape Breton, considered the heart of Cape Breton traditional music. Of central iconic importance in both the folk and popular manifestations of this music is the fiddle.
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Liu, Shuaida, and Thanaporn Bhengsri. "Historical Perspective on Literacy and Learning Resources of Traditional Chinese Fiddle Musical Instruments in Jiangxi." International Journal of Education and Literacy Studies 12, no. 1 (January 27, 2024): 260–68. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.260.

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Traditional Chinese fiddle instruments have a long history, with their origins dating back over a thousand years. They are an integral part of Chinese culture and have evolved over time, incorporating various regional styles and techniques. The objective is to examine the historical perspective on literacy and learning resources of traditional Chinese fiddle musical instruments in Jiangxi Province, with a primary focus on Jiujiang City. The study employs a multidisciplinary approach, drawing from ethnomusicology, organology, and musical acoustics, to unravel the intricate cultural, social, and historical context of fiddle music. Key informants, including master craftsmen and experts in fiddle production, provide valuable insights into the region’s musical heritage. The research also explores the emergence of the Zhonghu, a plucked stringed instrument, and its role in Chinese folk music. The study’s findings reveal the rich cultural landscape of Jiujiang City, characterized by the fusion of fiddle music with silk and bamboo music, private music clubs, religious ceremonies, and Taoist traditions. In conclusion, this research contributes to the preservation and enrichment of Jiangxi’s cultural heritage and offers insights into the continued development of traditional Chinese fiddle music education and cultural preservation.
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Rahkonen, Carl, and Vidar Lande. "Norway: Fiddle and Hardanger Fiddle Music from Agder." Yearbook for Traditional Music 31 (1999): 212. http://dx.doi.org/10.2307/768054.

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Clerk, John. "On the Fiddle." Musical Times 137, no. 1839 (May 1996): 4. http://dx.doi.org/10.2307/1003931.

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GIFFORD, PAUL M. "Henry Ford's Dance Revival and Fiddle Contests: Myth and Reality." Journal of the Society for American Music 4, no. 3 (July 15, 2010): 307–38. http://dx.doi.org/10.1017/s1752196310000167.

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AbstractHenry Ford's interest in reviving the dances of his youth and publicizing old fiddlers was a major media phenomenon of the 1920s. The claims of one fiddler became the source of the often repeated, but erroneous, assertion that Ford sponsored a national fiddlers' contest, which in turn has become a part of country music lore. This article, based mostly on archival sources and newspapers, attempts to describe the particular musical and dance traditions that interested Ford, his personal activities and ambitions in this area, his motivations, and the larger popular interest in the subject itself.
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von Rosen, Franziska, Michael Loukinen, and James P. Leary. "Medicine Fiddle." Ethnomusicology 43, no. 2 (1999): 391. http://dx.doi.org/10.2307/852753.

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DjeDje, Jacqueline Cogdell. "APPALACHIAN BLACK FIDDLING: HISTORY AND CREATIVITY." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 77–101. http://dx.doi.org/10.21504/amj.v11i2.2315.

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Discussions on Appalachian music in the United States most often evoke images of instruments such as the fiddle and banjo, and a musical heritage identified primarily with Europe and European Americans, as originators or creators, when in reality, many Europeans were influenced or taught by African-American fiddlers. Not only is Appalachian fiddling a confluence of features that are both African- and European-derived, but black fiddlers have created a distinct performance style using musical aesthetics identified with African and African-American culture. In addition to a history of black fiddling and African Americans in Appalachia, this article includes a discussion of the musicking of select Appalachian black fiddlers.
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Carl Rahkonen. "Southern Fiddlers and Fiddle Contests (review)." Notes 66, no. 2 (2009): 287–88. http://dx.doi.org/10.1353/not.0.0258.

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Brauer-Benke, József. "Vonós hangszerek Afrikában." Afrika Tanulmányok / Hungarian Journal of African Studies 16, no. 2 (December 13, 2022): 14–40. http://dx.doi.org/10.15170/at.2022.16.2.2.

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A survey of the available historical data allows one to show that the appearance and adoption of bowed string instruments in the different cultural regions of Africa took place in different periods and owing to different influences. After this instrument category had appeared in Central Asia in the 9th century, it spread to the eastern lands of the Arab world (Mashriq) in the 10th century, and thence to the western lands of the Arab world (Maghrib) in the course of the 12th to 13th centuries. The so-called rebab fiddle type (carved of a single piece of wood and provided with a body made of a coconut shell) was modified by the peoples of West Africa so that it had a body made of the locally abundant large calabash, while the peoples of northeastern Africa adopted various relatives of the kamanja fiddle type (having a box-like body), such as the Ethiopian masenko and the Eritrean wat’a. Contrastingly, the Swahili cultural region adopted the fiddle type having a pipe-shaped body, characteristic of the Far East and Southeast Asia, from the Chinese merchants and explorers of the early 15th century, an instrument type later carried by Swahili trading caravans into Central Africa and the southern parts of East Africa. Although the southernmost portion of South Africa is home to seemingly very archaic bowed string instruments, European cultural influences have been a definite factor in this region since the mid-17th century. It is unsurprising, then, that an etymological analysis of ostensibly archaic string instruments reveals the impact of European bowed instruments through stimulus diffusion, i.e. the local adoption of the idea of a bow and its adaptation to indigenous instruments previously played with hitting the strings or rubbing them with sticks. In comparison to other instruments of West Africa, bowed instruments have barely survived modernization and, obsolete as they now are, play little role on the stages of world music. This process was exacerbated by the influence of the Islamic reform movements of the 19th century that deemed them barely tolerated or even prohibited instruments because of their associations with the pre-Islamic era; this had already gradually reduced their use in the two centuries preceding the modernization of the 20th century. The use of bowed string instruments has also declined significantly in eastern ands Africa. It is only in the North African region that bowed string instruments enjoy continuing popularity. For example, they are still used widely by the rural folk orchestras of Egypt, while in Morocco the rebab has been modernized for classical Arabic music by adopting certain parts of the European fiddle (e.g. tailpiece, bridge, fingerboard). The European fiddle was also adopted wholesale in North Africa; so that European and traditional instruments are now employed simultaneously by many Algerian orchestras. (image 22) It is remarkable that European fiddles are played in a vertical position in this context, a playing technique usual for folk fiddles; the potential playing techniques inherent in the shape of the European fiddle are thus not utilised at all.
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Dissertations / Theses on the topic "Fiddle Music"

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Žák, Josef. "Fiddle music - úloha houslí v americké lidové hudbě." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79388.

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My thesis treats the fiddling as the fundament of the Country music. I write about various styles of the fiddle music : old-time music, bluegrass, Irish & Scottish fiddling, French-Canadien style, Texas contest style, Western swing, and about the great fiddlers. I think this dissertation could be an inspiration for violinists in the Czech Republic because this genre of music is not very known there.
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Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.

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Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.

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Glen, Katherine Marshall. "Expressive microtimings and groove in Scottish Gaelic fiddle music." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54477.

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This project examines how “groove” can be created through the microtimings of a solo instrument, rather than as discrepancies between multiple instruments or parts, as is often the case in similar studies. Groove is the nuanced rhythmic element of music in which microtiming patterns play upon listeners’ bodies in complex ways and stimulate movement. My study focuses on the reel, a type of dance tune used in the Scottish Gaelic tradition. Despite the repetitiveness and relative simplicity of the melody in this genre, these tunes have been widely played and performed for many years, and this seems to be due, in large part, to their rhythmic features. I analyze five recordings of a popular reel, “Jenny Dang the Weaver,” by different performers, using methodologies typically applied to the jazz canon. Each recording features only a solo fiddle, so any expressive microtimings are the result of the single performer and musical line, not influenced by interaction with other instruments. My analysis demonstrates that these recordings create groove through beat subdivisions and subversion of expected microtiming patterns. The primary method for analysis is a comparison of beat-upbeat ratios (BUR) and upbeat-beat-ratios (UBR) throughout the measure to determine any trends or significant outliers. The analysis shows that these performers, despite their different backgrounds, share certain microtiming trends and patterns (particularly in the performance of beats 2 and 3, and the presence of phenomenal accents on beat 2), which could therefore be understood as characteristic features of the Gaelic style. Conversely, I also demonstrate that while conforming to those patterns, each musician nevertheless has idiosyncrasies of microtiming that distinguish them from each other.
Arts, Faculty of
Music, School of
Graduate
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Bidgood, Lee. "Performance at Music in the Valle Concert Series." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3256.

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Perttu, Melinda Heather Crawford. "A Manual for the Learning of Traditional Scottish Fiddling: Design, Development, and Effectiveness." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299300924.

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Stock, Jonathan Paul Janson. "Context and creativity : the two-stringed fiddle erthu in contemporary China." Thesis, Queen's University Belfast, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334644.

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Olson, Ted. "Carroll Best: Old-Time 'Fiddle-Style Banjo' from the Great Smoky Mountains." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1217.

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Excerpt: In an interview published in the February 1992 issue of The Banjo Newsletter and conducted by bluegrass historian Neil Rosenberg and banjo player and instruction book author Tony Trischka, Carroll Best conveyed the depth of his connections to the instrument he had mastered: “When I was old enough to pick up a banjo I wanted to play.”
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Bidgood, Lee, and Andrew Finn Magill. "Performance at Live at Grassy Creek." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3257.

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Holmes, Ramona Adella. "A model of aural instruction examined in a case of fiddle teaching /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11219.

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Books on the topic "Fiddle Music"

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Herlihy, Dan. Sliabh Luachra music masters. Killarney: Dan Herlihy, 2003.

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Neil, J. Murray. The Scots fiddle. Glasgow: Neil Wilson Publishing, 1999.

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Laughlin, Dermot Mc. Donegal and Shetland fiddle music. Cork: Irish Traditional Music Society, University College, Cork, 1992.

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McLaughlin, Dermot. Donegal and Shetland fiddle music. [Cork]: Irish Traditional Music Society, University College Cork, 1992.

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Johnson, David. Scottish fiddle music in the 18th century: A music collection and historical study. 2nd ed. Edinburgh: Mercat Press, 1997.

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Thomson, Ryan J. Swing fiddle: An introduction. Newmarket, N.H: Captain Fiddle Publications, 1990.

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ill, Bloom Lloyd, ed. When Uncle took the fiddle. New York: Orchard Books, 1999.

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Neil, J. Murray. The Scots fiddle: Tunes, tales & traditions. Moffat: Lochar, 1991.

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Keller, Kate Van Winkle. Fiddle tunes from the American Revolution. Connecticut: The Hendrickson Group, 1992.

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ill, Cohen Santiago, ed. Fiddle-i-fee. Maplewood, N.J: Blue Apple Books, 2003.

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Book chapters on the topic "Fiddle Music"

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Collinson, Francis. "The Fiddle." In The Traditional and National Music of Scotland, 199–227. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-8.

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Sæther, Eva. "The Art(s) of Getting Lost: Halting Places for Culturally Responsive Research Methods." In The Politics of Diversity in Music Education, 15–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_2.

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AbstractThis chapter revisits the ideas of radical empiricism and sensuous scholarship, embedded in current music education research. Focusing on the development of methodological implications of cultural responsiveness and arts-based research methods, the chapter argues for epistemic openness. The discussion is located within the author’s own experiences of course development for Swedish music teacher students in Gambia, field studies in multicultural classrooms in Sweden, and research design that includes the fiddle, opening up for music to ask the questions. Borrowing from anthropological research the concepts of radical empiricism and sensuous scholarship, music education researchers might find useful tools to approach project planning, to perform the analysis of the material and to communicate the results in culturally responsive forms that inform both research and praxis. By studying music transmission with culturally sensitive research methods, this chapter suggests possibilities to do more than observing and reporting. There is a possibility to engage with different knowledge systems and politics, in all types of retrieved material – and to generate inclusive knowledge building.
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Golding, Rosemary. "Florence Fidler and Rosabel Watson, ‘Music as a Profession for Women’." In Music in Nineteenth-Century Britain, 332–35. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-37.

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"fiddle." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.03942.

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"fiddle-stick." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.04026.

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Kramer, Lawrence. "Persephone's Fiddle." In Why Classical Music Still Matters, 205–26. University of California Press, 2007. http://dx.doi.org/10.1525/california/9780520250826.003.0007.

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Bolick, Harry, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, and David Evans. "About the Music." In Fiddle Tunes from Mississippi, 33–34. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.003.0005.

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Actual recordings for most of the transcriptions in this book can and should be heard before attempting to learn one of these tunes from notation. There is much that notation is poor at conveying. Subtle shadings of pitch and timing easily apprehended by ear can be quite dense on the written page. Footnotes for each tune contain comments about the performer or performance notated, information about the recording, and a short list of comparable recordings. The list is included to give a sense of history and place to the tune but, more importantly, to reference common melodic phrases.
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Bolick, Harry. "ABOUT THE MUSIC." In Fiddle Tunes from Mississippi, 33–34. University Press of Mississippi, 2021. http://dx.doi.org/10.2307/j.ctv20hcrnh.8.

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Bolick, Harry, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, and David Evans. "Communities of Fiddlers in Mississippi." In Fiddle Tunes from Mississippi, 11–22. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.003.0003.

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Some groups of fiddlers attended the same fiddle contests and events, and knew, or knew of, each other. Though they were strongly individual musical personalities, they did not learn and play in a vacuum. There were many fiddlers. Many fiddle contests were advertised in newspapers within the state, particularly in 1900–40, but only a few of the newspaper reports contained any information about the fiddlers and the tunes they played. The descriptions that follow will suggest something about the quantity of the fiddlers and the interest in the music to supplement the recorded tunes transcribed in the rest of this book.
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"Fiddle-icious." In Cultural Sustainabilities, edited by Timothy J. Cooley, 273–82. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0022.

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Don Roy is a champion fiddler from Maine, promoted and celebrated on national folkloric stages as “the finest Franco fiddler in New England, whose playing exactly exemplifies what Franco-American fiddling is all about.” Nonetheless, Mr. Roy has been reluctant to adopt or centralize institutional constructs of his identity. Since 2003 he and Cindy Roy have developed and nurtured a community around a core of music repertoire and practice. This chapter explores the relationship between Mr. Roy's role as a bearer of inherited cultural and musical traditions, and his cultivation of a sustainable music community in southern Maine, as a participatory alternative to heritage industry narratives.
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