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Journal articles on the topic 'Fiddle Music'

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Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

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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4

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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5

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

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6

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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7

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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8

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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9

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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10

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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11

Lamb, William. "Reeling in the Strathspey: The Origins of Scotland’s National Music." Scottish Studies 36 (December 31, 2013): 66. http://dx.doi.org/10.2218/ss.v36.2706.

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According to the conventionally held view, the strathspey or 'strathspey reel' was an eighteenth century innovation instigated by fiddlers of the Speyside region, such as the Browns of Kincardine and the Cummings of Grantown. However, the basic rhythmic characteristics inherent to the strathspey – a series of long and short notes, organised within two or four strong beats per bar – are found in Gaelic songs thought to be much older. Using a range of data from early fiddle collections and transcriptions of twentieth century audio recordings, this paper explores the musical and semantic connections between the strathspey and Gaelic song, suggesting an alternative developmental path for Scotland’s national music.

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12

WELLS, PAUL F. "Elias Howe, William Bradbury Ryan, and Irish Music in Nineteenth-Century Boston." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 401–20. http://dx.doi.org/10.1017/s1752196310000350.

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AbstractRyan's Mammoth Collection is a compendium of fiddle tunes assembled by William Bradbury Ryan. Originally published in Boston in 1883 by Elias Howe, Jr., it has remained in print in one form or another ever since. It has been used as a source of tunes by many generations of fiddlers in different stylistic traditions, but its value as a descriptive document of the repertoire of late-nineteenth-century Boston, particularly the Irish community in that city, has largely been overlooked. Ryan, rather than Capt. Francis O'Neill of Chicago, should be regarded as the first great documentarian of Irish traditional music in the United States.

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13

Pappas, Nikos, and Jeff Todd Titon. "Old-Time Kentucky Fiddle Tunes." American Music 23, no. 4 (2005): 514. http://dx.doi.org/10.2307/4153072.

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14

SZALAY, Zoltan. "Istvan Pavai: Hungarian Folk Dance Music of Transylvania – Review." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 193–208. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.19.

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Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without melody), merely melodic accompaniment, and complex accompaniment created by the combination the first two types. A number of accompaniment types, considered ideal by local communities, had been established. These include the duos flute–gardon, fiddle–gardon (the gardon/gordunǎ being a stringed percussion instrument), fiddle or flute with koboz/cobzǎ, the trios made up of violin–cimbalom/ţambal–bass, or fiddle–kontra–double bass, the most common band consisting of a fiddle, a three-stringed kontra with flat bridge, and a bass (without cimbalom/ţambal). The rhythmic formulae provided by these instrumental ensembles specialized in accompaniment-playing constitute the musical support of the dances, at the same time they play an important role in defining the dance types. The three main types of rhythmic accompaniment are: slow dűvő/duva (in quarters), fast dűvő/duva (in eighths) and the estam (produced by eighth notes, alternately played by different instruments). The musical folklore of Transylvania inherited several principles of harmonization, such as the drone/ison principle, various forms of heterophony, polyphony focused on pivotal melodic notes, the accompaniment with mixtures of major triads, and the tonal-functional harmonization.

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15

Wheeler, Will, and John Cohen. "Post Industrial Fiddle." Ethnomusicology 30, no. 2 (1986): 307. http://dx.doi.org/10.2307/852001.

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16

S., A., K. E. Dunlay, and D. L. Reich. "Traditional Celtic Fiddle Music of Cape Breton." Yearbook for Traditional Music 19 (1987): 133. http://dx.doi.org/10.2307/767889.

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17

Fujie, Linda. "Fiddle Sticks: Irish Traditional Music from Donegal." Yearbook for Traditional Music 26 (1994): 192. http://dx.doi.org/10.2307/768273.

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18

Begin, Carmelle, and David Johnson. "Scottish Fiddle Music in the 18th Century." Yearbook for Traditional Music 17 (1985): 209. http://dx.doi.org/10.2307/768444.

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19

Hopkins, Pandora, and L. Y. Daliot. "Ringing Strings: Fiddle Music of Norway-Shetland." Ethnomusicology 29, no. 2 (1985): 354. http://dx.doi.org/10.2307/852152.

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20

Turner, Steve Sweeney. "Fiddle Pibroch: 18th-Century Scottish Violin Music." Musical Times 134, no. 1802 (April 1993): 218. http://dx.doi.org/10.2307/1002492.

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21

Blaustein, Richard, K. E. Dunlay, and D. L. Reich. "Traditional Celtic Fiddle Music of Cape Breton." Journal of American Folklore 100, no. 396 (April 1987): 251. http://dx.doi.org/10.2307/540941.

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22

Wells, Paul F. "Fiddle Music from Alabama, Wyoming, and Montana." Journal of American Folklore 102, no. 406 (October 1989): 460. http://dx.doi.org/10.2307/541787.

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23

Porter, Mark, and Iseult M. Wilson. "Extent of Playing-Related Musculoskeletal Problems in the Irish Traditional Music Community: A Survey." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 47–55. http://dx.doi.org/10.21091/mppa.2018.1008.

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BACKGROUND: The literature related to playing-related musculoskeletal disorders (PRMDs) primarily includes classical musicians and instrument-specific studies. Previous work by our team identified that PRMDs are an issue for Irish traditional fiddle players; however, the extent of the problem was not known. OBJECTIVE: To identify the type and extent of PRMDs in the Irish traditional music population, specifically fiddle players. METHODS: A questionnaire was developed and administered to faculty and students related to all Irish traditional music courses in all higher education institutions in Ireland. RESULTS: Seven institutions were included. The response rate was 77.5% (n=79 of 102 possible respondents). A fifth of respondents never had a PRMD, 36.7% (n=29) currently had a PRMD, and 34.2% (n=27) had a previous experience of a PRMD. The main symptoms were pain (62%, n=49), stiffness (41.8%, n=33), and tingling (35.4%, n=28). There was a positive association between the development of PRMDs and increased hours of play (p=0.017). CONCLUSIONS: PRMDs are a problem for Irish traditional fiddle players, especially during times of intense playing such as festivals.

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24

CRANITCH, MATT. "Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 475–89. http://dx.doi.org/10.1017/s1752196310000398.

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AbstractIn the world of Irish traditional music, Paddy Cronin from Sliabh Luachra in the southwest of Ireland is regarded as one of the tradition's exceptional fiddle players. Although his music exhibits many characteristics of the Sliabh Luachra tradition, it also has other elements and features, primarily from the Sligo style. A pupil of Pádraig O'Keeffe (the “Sliabh Luachra Fiddle Master”), Cronin emigrated to Boston in 1949 and lived there for approximately forty years. Before he left Ireland, he had been familiar with the music of the Sligo masters, such as Michael Coleman and James Morrison, who had gone to the United States many years before him. In Boston Paddy met and played with many of the great Sligo musicians, and also had the opportunity to hear music in other styles, including that of Canadian musicians, whose use of piano accompaniment he admired greatly. This article considers his music before and after he left Ireland, and compares him to Coleman and Morrison by considering their respective performances of the reel “Farewell to Ireland.”

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25

Brown, Howard Mayer. "The trecento fiddle and its bridges." Early Music XVII, no. 3 (August 1989): 309–29. http://dx.doi.org/10.1093/earlyj/xvii.3.309.

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26

Weitzman, Ronald. "Fleischmann, Shostakovich, and Chekhov's ‘Rothschild's Fiddle’." Tempo, no. 206 (October 1998): 7–11. http://dx.doi.org/10.1017/s0040298200006677.

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Shostakovich harboured a special esteem for Chekhov's literary genius, and knew by heart many of the short stories. At the same time, the composer felt an extraordinary tangible identification with the Jewish spirit, as well as a recognition of the role and importance of the Jewish contribution in history. (When it comes to the references in the disputed biography, Testimony, to Shostakovich's fierce personal stance whenever he came across the slightest expression of anti-semitism, there is sufficient independent evidence to indicate that Solomon Volkov's reporting cannot seriously be challenged.)

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27

Cope, Peter. "Adult learning in traditional music." British Journal of Music Education 22, no. 2 (July 2005): 125–40. http://dx.doi.org/10.1017/s0265051705006108.

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This study is based on interviews carried out with 13 adult learners of traditional fiddle playing. The average age of the learners was 56 and they had been learning to play for between 2 and 20 years. All of the interviewees had taken music at school but none of them had been stimulated to participate further in any significant sense. The aspiration to learn to play the fiddle had various sources. Learning usually took place through traditional workshops and through the medium of the tune rather than through scales and exercises. Only one of the participants took regular conventional individualised lessons. They tended to take a pragmatic stance with regard to technique, looking for technical advice when they came up against barriers to progress. The music they played was within an aural culture and most of them learned by ear although they tended to regard notation as a useful supplement. All of them played in some sort of social context and all of them described an immense sense of pleasure and achievement from their playing. It is suggested that this kind of informal learning may have implications for learning to play instruments at school.

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28

Swing, Pamela, and Peter Cooke. "The Fiddle Tradition of the Shetland Isles." Yearbook for Traditional Music 21 (1989): 122. http://dx.doi.org/10.2307/767776.

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29

Stock, Jonathan. "A Case for World Music." British Journal of Music Education 8, no. 2 (July 1991): 101–18. http://dx.doi.org/10.1017/s0265051700008226.

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The basic aim of this article is to argue that world music should be an integral part of any musical curriculum. An extensive example, drawn from Chinese traditional music, outlines potential benefits that the study of world music offers to the music teacher interested in it either for its own sake or as a means of developing pupils' skills at improvisations and composition. The featured example is a composition for erhu (Chinese two-stringed fiddle) by the folk musician Abing. Ideas are raised concerning musical context, analysis, melodic structure, tonality, metre, notation and ornamentation.

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30

McAulay, Karen. "Show me a strathspey: taking steps to digitize tune collections." Reference Reviews 30, no. 7 (September 19, 2016): 1–6. http://dx.doi.org/10.1108/rr-03-2015-0073.

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Purpose The present paper describes an Arts and Humanities Research Council (AHRC) research project into Scottish fiddle music and the important considerations of music digitization, access and discovery in designing the website that will be one of the project’s enduring outcomes. Design/methodology/approach The paper is a general review of existing online indices to music repertoires and some of the general problems associated with selecting metadata and indexing such material and is a survey of the various recent and contemporary projects into the digital encoding of musical notation for online use. Findings The questions addressed during the design of the Bass Culture project database serve to highlight the importance of cooperation between musicologists, information specialists and computer scientists, and the benefits of having researchers with strengths in more than one of these disciplines. The Music Encoding Initiative proves an effective means of providing digital access to the Scottish fiddle tune repertoire. Originality/value The digital encoding of music notation is still comparatively cutting-edge; the Bass Culture project is thus a useful exemplar for interdisciplinary collaboration between musicologists, information specialists and computer scientists, and it addresses issues which are likely to be applicable to future projects of this nature.

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31

Fleisher, Leah. "Fit As A Fiddle: The Musician’s Guide to Playing Healthy. By William J. Dawson." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 118–19. http://dx.doi.org/10.21091/mppa.2011.2019a.

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Fit As A Fiddle: The Musician’s Guide to Playing Healthy. By William J. Dawson. Published by Rowman & Littlefield Education (Lanham, MD), in partnership with MENC The National Association for Music Education. Nov 2007, 158 pp. ISBN 978-1-57886683-0.

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32

Goertzen, Chris, and Jeff Todd Titon. "Old-Time Kentucky Fiddle Tunes." Ethnomusicology 47, no. 2 (2003): 261. http://dx.doi.org/10.2307/3113925.

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33

Seroussi, Edwin, and Mark Slobin. "Fiddle on the Move: Exploring the Klezmer World." Yearbook for Traditional Music 34 (2002): 203. http://dx.doi.org/10.2307/3649203.

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34

Haefer, J. Richard. "Wood That Sings: Indian Fiddle Music of the Americas." Yearbook for Traditional Music 31 (1999): 189. http://dx.doi.org/10.2307/768026.

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35

Elder, Morag Anne. "D. Johnson, Scottish fiddle music in the eighteenth century." Northern Scotland 7 (First Series, no. 1 (January 1986): 83–84. http://dx.doi.org/10.3366/nor.1986.0015.

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36

Romero, Brenda, Charlotte Heth, Terence Winch, and Nick Spitzer. "Wood That Sings, Indian Fiddle Music of the Americas." Ethnomusicology 43, no. 3 (1999): 567. http://dx.doi.org/10.2307/852570.

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37

DJEDJE, JACQUELINE COGDELL. "The (Mis)Representation of African American Music: The Role of the Fiddle." Journal of the Society for American Music 10, no. 1 (February 2016): 1–32. http://dx.doi.org/10.1017/s1752196315000528.

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AbstractDuring the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on print or sound materials for analyses. Because rural black musicians who performed secular music rarely had an opportunity to record and few print data were available, sources were lacking. Thus, much of what we know about twentieth-century black secular music is based on styles created and performed by African Americans living in urban areas. And it is these styles that are often represented as the musical creations for all black people, in spite of the fact that other traditions were preferred and performed. This article explores how the (mis)representation of African American music has affected our understanding of black music generally and the development of black fiddling specifically.

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38

Yaremko, Bohdan. "The artistic background of Demyan Lyndyuks' ('Popychyn') - representa- tive of Kosmach fiddle tradition." Ethnomusic 14, no. 1 (2018): 132–41. http://dx.doi.org/10.33398/2523-4846-2018-14-132-141.

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The article describes the background of historical Gutshul traditional fiddler Demyan Lyndyuk ('Popychyn') (1919-1959), from the Kosmach village of Kosiv region of Ivano-Frankivsk. The historical research were undertaken on the ground of historical data, received at 2006 from the Demyans' niece Maria Ivasyuk, as well as from Kovalivka vilage Ivan Sokoluik-the-fiddler, who made the valuable contribu- tion unto research, and played from memory two tunes by D. Lyndyuk, which he recollected as they were played by Demyan himself. Appended to the article the transcription of one of these Demyan Popychyn tunes, prepared by Lviv Music Academy post-graduate Yarema Pavliv at 2018. This tune is the virtuoso stanza of Gutsulka suite, composed of four stanzas, the tunes unfolding by varaitive conbina- torics principle of four related or contrasting, finely embellished melodic motives. This piece, and moreover, the second one, 'Song Tune', are characteristic of Demyan Lyndyuks' performing manner, marked by inventive and exqusite melodic style, cheracteristic of Gutsul regional tradition. As appears, Demyan Lyndyuk ('Popy- chyn') were one of the most prominent representatives of the latter, the father- founder of which were Vasyl Vandzaruk, followed by fully-fledged fiddlers and teachers Dmytro Gudymyak, Vasyl Pozhodzhuk, Ivan Menyuk, Mykhaylo Slochak, Kyrylo Lyndyuk, and, in contemporary tradition, Ivan Sokolyuk. Among these names the proud of the place belongs to Fiddler Demyan Lyndyuk ('Popychyn'), who made outstandng contribution into frourishing of Gutsul instrumental and vocal musicianship. The life of this fiddler were short, but very intense and deserved to be preserved by grateful memory of coming generations of outstanding fiddlers of Kosmach-Shepit tradition of kosiv region.

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39

Geringer, John M., Kasia Bugaj, and Katie A. Geringer. "Irish Fiddle and Western Classical Violin: Listener Perceptions and Acoustical Differences." String Research Journal 11, no. 1 (July 2021): 5–17. http://dx.doi.org/10.1177/19484992211020686.

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This report is a summary of two studies. In the first, we compared examples of Irish fiddle performances with Western classical violin performances. Acoustical analyses showed that both classical examples produced average spectral centroids higher in frequency, higher harmonic to noise ratios, more use of vibrato, more disjunct intervals, and less ornamentation. Expert listeners described the classical examples as resonant, ringing, and brighter. Tone in the Irish examples was characterized as varied, gritty, and full-bodied. In the second study, we asked 72 music majors to listen to different recordings and respond in two ways. The first section consisted of extremely brief examples of four different solo violin styles: classical, jazz, old-time fiddle, and Irish. The second section consisted of longer examples of either Irish or classical performances. The listeners were asked to describe salient features of each. They frequently identified the following characteristics of the Irish excerpts: grace notes, double stops, ornamentation, and dance-like. In contrast, classical extracts were described using the terms: vibrato, melody, intervals, and extended technique. Implications for music listening are discussed.

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40

Rosenbaum, Art, and David Johnson. "Scottish Fiddle Music in the 18th Century. A Music Collection and Historical Study." Jahrbuch für Volksliedforschung 31 (1986): 177. http://dx.doi.org/10.2307/848338.

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Goertzen, Chris. "Balancing Local and National Approaches at American Fiddle Contests." American Music 14, no. 3 (1996): 352. http://dx.doi.org/10.2307/3052603.

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42

Creighton, Alexander. "Chekhov’s fiddle: Towards a musical poetics of fiction." Short Fiction in Theory & Practice 9, no. 2 (October 1, 2019): 129–43. http://dx.doi.org/10.1386/fict_00006_1.

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This article explores what it means to listen to Chekhov and how this listening can provide a useful comparative framework for the study of time in short fiction. Since the tune of Chekhov’s stories lies partly in their strategic silences, we must attend as much to the unsaid, the musical rests, as to what is told. To theorize the meaningful relations that exist in and between a story’s silences and its words, I analyse two of Chekhov’s stories – ‘Easter Night’ and ‘The Bishop’ – with respect to two key terms: melodic setting and harmonic characterization. These terms refer to phenomena that run counter to our assumptions regarding character and setting by asserting that the movement we associate with the former and the stasis we associate with the latter are reductive. In music, movement and stasis are not always clear-cut terms; harmony and melody are interdependent and influence one another. Even in a symphonic form like the sonata, built around development, stasis plays a role; even in a song that dwells in the description of one mood or conflict, there is development and change. The language of music accommodates the possibility of several independent variables moving simultaneously through time, which, as Chudakov and Woolf notice of Chekhov’s work, is part of what makes even the shortest of his stories so profound.

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Rahkonen, Carl John. "Old Time Kentucky Fiddle Tunes (review)." Notes 60, no. 1 (2003): 138–40. http://dx.doi.org/10.1353/not.2003.0125.

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Ling, Jan. "Folk Music Revival in Sweden: The Lilla Edet Fiddle Club." Yearbook for Traditional Music 18 (1986): 1. http://dx.doi.org/10.2307/768514.

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Murray, Alan V., and Graham Dixon. "The Lads like Beer. The Fiddle Music of James Hill." Jahrbuch für Volksliedforschung 34 (1989): 208. http://dx.doi.org/10.2307/849259.

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Thompson, Daniel N., Isaac Breslauer, Don Meade, and Kevin Burke. "Kevin Burke, Sweeney's Dream: Fiddle Tunes from County Sligo, Ireland." Yearbook for Traditional Music 33 (2001): 213. http://dx.doi.org/10.2307/1519690.

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Остапенко, А. Г. "Web Collections of Norwegian Folk Music: Review of Sources." OPERA MUSICOLOGICA, no. 2022 (February 18, 2022): 144–54. http://dx.doi.org/10.26156/om.2022.14.1.009.

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В Норвегии с начала 2000-х годов ведется активная планомерная работа по оцифровке и размещению музейных коллекций и архивных собраний национального значения в сети Интернет. Подготовка аудио-, видео- и фотоматериалов осуществляется сотрудниками крупнейшего нотного фонда, расположенного в Национальной библиотеке Норвегии, а также научно-исследовательскими центрами и региональными музеями. Особое внимание норвежских этномузыкологов в этом плане сосредоточено на рукописных архивах выдающихся собирателей норвежской народной музыки XIX — первой половины ХХ века. Результаты деятельности исследователей фольклора во второй половине ХХ века приведены главным образом в двух сериях антологии «Норвежская народная музыка»: «Произведения для хардингфеле» и «Скрипичные произведения». Материалы этих изданий были опубликованы в виде страницы интернет-сайта Университета Осло, позволяющей быстро найти ту или иную пьесу по определенным характеристикам. К числу рассмотренных в настоящей статье электронных ресурсов относятся также проекты «Цифровой музей» и приложение к исследованию Бьёрна Аксдала «Хардингфела: изготовители скрипки и развитие инструмента» (2009). Аудио- и видеоматериалы собирателей представлены немногочисленными образцами. В обзоре упомянуты недавно обнаруженные коллекционером Томом Валле наиболее ранние записи на восковые валики норвежской скрипичной музыки 1903 года. Обзор интернет-источников, посвященных норвежской народной музыке, дается сквозь призму истории собирания и изучения норвежского фольклора. In Norway, since the early 2000s, active systematic work has been carried out on digitization and placement of museum and archival collections of national importance on the Internet. The preparation of The audio, video and photographic materials are being prepared by employees of the largest music fund located in the National Library of Norway, as well as research centers and regional museums. In this regard, special attention of Norwegian ethnomusicologists is focused, first of all, on the manuscript archives of the outstanding collectors of Norwegian folk music of the 19th — first half of the 20th century. The results of the activities of the collectors of the second half of the twentieth century are presented mainly in two series of the anthology “Norwegian Folk Music”: “Slåttar for the Harding Fiddle” and “Slåtter for the Normal Fiddle”. The materials of these publications were presented on the Internet site of the University of Oslo, which allows you to quickly find the desired tune according to the given characteristics. The electronic resources discussed in this article also include the Digital Museum projects and an appendix to Bjørn Aksdal’s study “Hardingfela: the Fiddle Makers and the Development of the Instrument” (2009). The audio and video materials of the collectors are represented by a few samples. The review mentions the earliest wax roll recordings of Norwegian violin music from 1903 recently discovered by collector Tom Valle. The Internet sources on Norwegian folk music are reviewed from the perspective of the history of the collection and study of Norwegian folklore.

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Heckman, Christina M. "The Musical Devil Revisited." Religion and the Arts 27, no. 5 (December 19, 2023): 573–96. http://dx.doi.org/10.1163/15685292-02705007.

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Abstract This article argues that modern examples of the Devil as a player of plucked and bowed stringed instruments extend early medieval representations of the Devil’s music as a powerfully persuasive force that can be used to draw souls toward Satan and, conversely, to defend against his musical machinations. By examining Homily X of the Vercelli Book (c. tenth century) in relation to early medieval music theory, the legend of St. Dunstan, and modern examples of the fiddle-playing Devil, this article demonstrates that the musical Devil and his opponents show every sign of sustaining the motif’s power into the future.

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Norton, Kay. "Happy Land: Musical Tributes to Laura Ingalls Wilder. Pa's Fiddle PF01, 2005. - The Arkansas Traveler: Music from Little House on the Prairie. Pa's Fiddle PFA01, 2006." Journal of the Society for American Music 1, no. 4 (November 2007): 541–43. http://dx.doi.org/10.1017/s1752196307071337.

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Goertzen, Chris. "American Fiddle Tunes and the Historic-Geographic Method." Ethnomusicology 29, no. 3 (1985): 448. http://dx.doi.org/10.2307/851799.

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