Academic literature on the topic 'Old Town School of Folk Music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Old Town School of Folk Music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Old Town School of Folk Music"
1
Liu, Yongqing. "Analysis of Inner Mongolia Middle School Folk Music Culture Education." International Journal of Education and Humanities 4, no. 1 (August 10, 2022): 9–11. http://dx.doi.org/10.54097/ijeh.v4i1.1151.
Full textAbstract:
In recent years, under the influence of foreign music culture, the emergence of ethnic music culture is becoming less and less, pop music accounts for a large proportion, which makes some students blindly pursue. As a result, more and more people of the young generation begin to follow pop singers, while their love for folk music is becoming less and less. The young students only knew pop singers and songs, and had little knowledge of folk music. They could not name several folk musicians or Musical Instruments. In addition, schools at all stages do not pay attention to folk music education and learn music courses without guidance and supervision, which leads to the failure to implement the content of the syllabus and form formal teaching content. The lack of scientific research, the old-fashioned way and the single mode of music education lead to students' less and less love for music.
2
Thibeault, Matthew D. "Exploring the Old Town School of Folk Music’s Beck Song Reader Ensemble." General Music Today 27, no. 2 (October 30, 2013): 43–47. http://dx.doi.org/10.1177/1048371313507278.
Full text
3
Cross, Rod. "Pop Music in the Middle School – Some Considerations and Suggestions." British Journal of Music Education 5, no. 3 (November 1988): 209–16. http://dx.doi.org/10.1017/s026505170000663x.
Full textAbstract:
Most young people these days enjoy listening to music. It may well be their main interest and one of their favourite pastimes. Some may express a preference for classical music, others for minority interests, such as folk, country, blues, jazz, or big band. For the vast majority, however, it is likely that their taste will be partly, if not exclusively, for pop, i.e. that brand of music which originated with Bill Haley'1956 recording of ‘Rock Around The Clock’, and which now applies to all music loosely associated with the Top Forty charts. In this article the author describes a course, with 10 and 11 year old pupils, which examined the history, styles and social significance of pop music.
4
Anderson, Martin. "London, Cadogan Hall and King's Place: Second London Festival of Bulgarian Culture." Tempo 67, no. 265 (July 2013): 81–83. http://dx.doi.org/10.1017/s0040298213000557.
Full textAbstract:
One of the most enjoyable characteristics of London musical life is that it is peopled by a generous number of foreigners who, every so often, take it upon themselves to enlighten the rest of us as to the music we are missing from back home. These can, of course, be hit-and-miss occasions, but it's in the nature of exploring unknown music of any age that you will happily put up with a handful of duds if you come away with a real discovery ringing in your ears. The Second London Festival of Bulgarian Culture (I seem to have missed the First) ran in various venues over the course of November 2012 and also accommodated art, film, literature, theatre and other forms of music (folk, pop and jazz). It opened its classical batting with a concert of ‘Bulgarian and British Symphonic Folk Songs’ in Cadogan Hall on 3 November, with the Varna Symphony Orchestra, Paulina Voices (the choir of St Paul's Girls' School) and the Holst Choir (from James Allen's Girls' School) conducted by Martin Georgiev. Pancho Vladigerov (1899–1978) being the only Bulgarian composer generally known to the outside world, it made sense to begin with him. His Shumen Miniatures, six attractive piano pieces based on folk-tunes from the town, Shumen, where Vladigerov grew up, were written in 1934 and orchestrated at some later date vouchsafed neither by the concert-programme nor the worklist at www.vladigerov.org. They embrace a variety of lighter moods: the first and fourth pieces offer lazy and lyrical summer-evening hazes and the second and third vigorous dances; the proximity of the fifth to the style of Enescu brought a reminder of the long common border Bulgaria shares with Romania (Shumen is around 100 km away from it).
5
Järviluoma, Helmi. "From Manchuria to the tradition village: on the construction of place via pelimanni music." Popular Music 19, no. 1 (January 2000): 101–24. http://dx.doi.org/10.1017/s0261143000000076.
Full textAbstract:
IntroductionThere are no traces of the mid-Finnish village ‘Perikylä’ on existing maps. It features only in the ‘old folks’ memories', says the retired bus-driver, Matti Tulijoki, who wrote a melancholic waltz in memory of his native five-farm village, ‘in a weak moment’. He called the waltz ‘Memories of Perikylä’, and I have chosen it for analysis from the repertoire of the amateur musical group Virtain pelimannit, in which Mr Tulijoki is an accordion player and a pelimanni. Pelimanni is a term that has been used in Finland for centuries to denote a musician who plays a folk instrument. It is also used for the players who, from the start of the Finnish folk music movement in the late 1960s and early 1970s, joined the groups that were being formed all over the country, carrying the name of each municipality. This paper uses the case study, Music and Identity at Grassroots Level (Järviluoma 1997), in which I analysed the ways in which one such amateur music ensemble creates and maintains different sides of its identity. The group comes from Virrat, a country town of 9,000 people in central Finland. One of the central themes of the case study was place, and I will draw upon the study here to examine how ‘place’ is present in both the players' music and their speech about music.
6
Buryak, Marina K. "Creative Work of Novgorod Original Singers as a Reference for Modern Folk-Singing Education." Musical Art and Education 8, no. 3 (2020): 159–74. http://dx.doi.org/10.31862/2309-1428-2020-8-3-159-174.
Full textAbstract:
The article presents the theoretical grounding of the folk-singing technologies of Novgorod original singers (authentic performers) as fundamental to the developed author’s methods: intonational-formulaic, vocal-phonatory, polyphonic-specific, local-style. The identified features of authentic intonation-formulaic education and the study resulted singing fund of children’s song folklore became “key” and end-to-end mechanisms in the author’s method of forming and developing skills of sustainable singing intonation with each participant in the educational process aimed at preserving and further developing the traditions of Novgorod folk-song creation. Based on the study of the general-style singing specifics, vocal-phonation and polyphonic texture of ensemble singing of Novgorod authentic singers developed local-style singing classification, which, according to the terminology of the author of the article, Novgorod folk-singing styles are: old Slavic, Old Russian, part singing, as well as four mixed folk-singing styles. The differentiating mechanism of classification is the potential of the applied types of folk vocal phonation, polyphony in the ensemble singing and the type of singing articulation. On this local-style foundation, the author formed a specific Novgorod mixed folk-singing style, combining locally-style folk-singing technologies of Novgorod authentic performers and the academic school of Russian folk singing. This style is used in the singing of teachers and students of the Novgorod Children’s Music School of Russian Folklore. The implementation of the technologies developed by the author in pedagogical practice helps children achieve a high level of singing training and become ethno performer, a future ethnophore and a bearer of Russian local / regional folk song traditions.
7
Sundari, Wiwiek. "Javanese Language Maintenance Through Javanese Traditional and Modern (Folk) Songs." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 4, no. 1 (July 12, 2020): 11–16. http://dx.doi.org/10.14710/culturalistics.v4i1.8143.
Full textAbstract:
Javanese Language is learnt and studied by many people throughout the world as it has a complex system of language covering the letters (Javanese Language Orthography), the politeness level, and also the history and the culture behind the language. However, there is a concern on Javanese Language shift by its young speakers because they tend to use Indonesian Language as Indonesia’s Official Language, English as the world’s international language, or another popular language in the world like Korean with its K-Pop phenomenon. Javanese Language maintenance is then needed to keep these young generation as the language users who will pass it to the next generation. One of the ways to do it is embracing their world so that the language is considered good and beneficial for them as the young generation. Since music and song is very close to the young generation as they are very up to date with the latest trend of it, the language maintenance can be done through exposing Javanese kinds of music and songs. Recently, a kind of Javanese music called Campursari along with its songs are gaining popularity with the fame of The Godfather of The Brokenheart, Didi Kempot, who creates thousands of Campursari songs full of love stories in the lyric, particularly the brokenheart storied. Out of nowhere, the young generation, who are Javanese, who are Javanese but do not understand Javanese Language or even who are not Javanese and not understand Javanese Language are joining the crowd and becoming his fans that previously filled with the old generation. This research shows how Junior Highschool Students maintain the Javanese Language usage by liking the music, singing the songs and understanding the Javanese Language in the lyric. This research also observes whether they still know or able to sing traditional Javanese songs they exposed from their family, environment (neighbourhood) or Javanese Language class at school that shows their Javanese Language maintenance. Keywords: language maintenance, Javanese Language, students, Junior Highschool, Campursari, Javanese music and song
8
Kovács, Lóránt. "Assessment of the environmental value of the Zichy Castle Park in Voivodeni, Romania – Brief description." Acta Universitatis Sapientiae, Agriculture and Environment 6, no. 1 (November 1, 2014): 52–56. http://dx.doi.org/10.2478/ausae-2014-0013.
Full textAbstract:
Abstract The Zichy Castle from Vajdaszentiväny (Voievodeni) is located in Mure§ County, central Romania, south-west from the town of Reghin. Its constniction in classical baroque style dates back to the beginning of the X\TH Century. The archaeological findings from the area show that Vajdaszentiväny was already populated in the Copper Age. The findings of gray dishes from the III and IV centuries were considered by Dr. Protase as indigenous Daco-Roman relics. The Roman presence here was demonstrated by residues of the hewn-stone road along the Maros River. After the Roman Age, several other populations (Goths, Slavonic peoples. Darghins and Huns) settled down here. The feudal Hungarian state occupied this area around the XI Century. Several streams, terraces and old cemetery ruins demonstrate tliat the Hungarians used the region for protective purposes. The first mitten records of Vajdaszentiväny date back to 1332, when die Papal documents (Sacerdos de Sancto Johanne) mention the settlement for the first time. In 1366. the name of the village was Märton-Szent-Ivän. and dunng the centuries it belonged to several old and noble families and dynasties as szentiväni Szekely. monoszlai Losonczi. Szakäcsi. the Bänffy and Dezsöfi, the Szentiväni, Butkai, Balog, Kecseti, Kerelöi, Szengyeli, Dengelegi, Fodor, vajdaszentivänyi Földväri, Koka, Piski, Järai or Järai Felsöjärai Abafäja. During the first half of the 19* Century, among former Hungarians noble owners of the village, the following can be mentioned: Count Sämuel Kemeny, Albert Horvath, Budai, Szocs (Käroly es Mihäly) and Duke Löwenthäl. Later on, the village of Vajdaszentiväny became famous because of its castle, later named the “Zichy Castle,” but also because of its citizens as preservers of folk music, folk dance and folk tales.
9
Novik, Alexander. "GjirokastraFolklore Festival as the Main Ritual Event in Albanian Cultural Life at the Beginning of the 21st Century." Yearbook of Balkan and Baltic Studies 3 (December 2020): 157–82. http://dx.doi.org/10.7592/ybbs3.08.
Full textAbstract:
The paper presents an overview and analysis of the Gjirokastra National Folklore Festival (NFFoGj), one of the most important events in the cultural life of Albania. Global transformations that have affected all aspects of life have inevitably brought changes to traditional culture, traditional values and relations with the outside world, including across the Balkans. The majority of program issues were inspired by a common European practice of holding mass folklore events and measures aimed at nurturing and preserving cultural heritage. It is deeply connected to the process of revitalisation of old ritual practices and folk costume and to the socialisation of people who have professional and semi-professional associations with ethnic culture. Having analysed the materials collected in the run-up to the festival and during the event as well as during field studies in the Western Balkans in 1992–2019, I can acknowledge revitalisation of many, if not all, elements of folk culture. In this case revitalisation does not mean following the tradition literally, but rather an attempt to preserve it while adopting a modern perspective and advances in technology. The essential part of this process is the attempt to breathe new life into the components of traditional culture, and adapt them to the here and now. The NFFoGj has also become a major attempt to museificate the cultural heritage of the Albanians. Contests that have been held regularly over the past 70 years to reveal the best examples of folk art and support independent artists have encouraged interest in the roots of national culture and helped many generations not to forget what their predecessors valued. Thus, folk dance, music, songs and costume were reproduced – at times artificially – in various regions of the country to showcase the achievements of a locality (village, district, town, region) at the national festival as the main ritual cultural event.
10
Waldron, Janice. "Teacher and Student Perceptions of Music Teaching and Learning at the Goderich Celtic College, Goderich, Ontario, Canada." Bulletin of the Council for Research in Music Education, no. 182 (October 1, 2009): 51–64. http://dx.doi.org/10.2307/27861462.
Full textAbstract:
Abstract The purpose of this ethnographic study was to explore how Celtic traditional music was taught and learned by North American adults at the Goderich Celtic College (GCC), an annual weeklong event held in the town of Goderich, Ontario, Canada. The GCC provides instruction to adult learners in Celtic instrumental traditions from Ireland, Scotland, Wales, England, and the Canadian provinces of Newfoundland, Nova Scotia, Manitoba, Quebec, Prince Edward Island, and Ontario. Other activities occurring outside of the regular school day, including concerts and informal music sessions, are a significant part of the College week. Participants were asked to describe their comfort levels with both visual and aural/oral music learning, and this was because Celtic music is traditionally learned through aural/oral transmission and not through written notation. Many of the teacher participants at the GCC were traditional folk musicians who have learned in an aural/oral, non-literate tradition in informal social settings, and when "teaching," they employ various aural/oral approaches because those are the strategies with which they are the most familiar. Student study participants were North American adults, formally schooled, musically literate, and generally uncomfortable with aural/oral music learning when introduced to Celtic music as adults. Thus, when first learning Celtic music, they were both unfamiliar with and had difficulty learning the music in the manner in which it was traditionally transmitted, that is, through aural/oral learning in context. Therefore, in order to learn Celtic music in what was perceived to be the most natural and authentic way (aural/oral), participants developed self-teaching strategies designed to accommodate and/or supplement their aural/oral learning. Information gleaned from this study has implications for formal music education practice.
Books on the topic "Old Town School of Folk Music"
1
Grayson, Lisa. Biography of a hunch: The history of Chicago's legendary Old Town School of Folk Music. Chicago: Old Time School of Folk Music, 1992.
Find full text
2
ill, Spier Peter, ed. The Fox went out on a chilly night: An old song. New York, NY: Dell Dragonfly Books, 2002.
Find full text
3
ill, Spier Peter, ed. The Fox went out on a chilly night: An old song. New York: Doubleday, 1989.
Find full text
4
Peter, Spier, ed. The Fox went out on a chilly night: An old song. New York, NY: Bantam Doubleday Dell Books for Young Readers, 1993.
Find full text
6
Staff, Hal Leonard Corp. Old Town School of Folk Music Songbook: 60th Anniversary Edition. Old Town School of Folk Music, 2017.
Find full text
7
Staff, Hal Leonard Corp. Old Town School of Folk Music Songbook: 60th Anniversary Edition. Old Town School of Folk Music, 2017.
Find full text
8
Staff, Hal Leonard Corp. Old Town School of Folk Music Songbook: 50th Anniversary Edition Lead Sheets. Leonard Corporation, Hal, 2008.
Find full text
10
Spier, Peter. Fox Went Out on a Chilly Night: An Old Song. Random House Children's Books, 2014.
Find full textBook chapters on the topic "Old Town School of Folk Music"
1
Salkind, Micah E. "Dancing in Brave Spaces." In Do You Remember House?, 223–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698416.003.0008.
Full textAbstract:
The seventh and final chapter of Do You Remember House? uses auto-ethnographic research to bring together the theoretical interventions developed in the previous six chapters. Building on work in dance studies and popular music studies, this chapter employs the notion of dancing in brave spaces, rather than what have often been referred to in the extant literature on queer social dance as safe spaces. It suggests that Chicago house culture inculcates a way of living bravely with socio-sonic difference, in part by fostering experiences of inter-subjective intimacy and vulnerability. The theoretical insights articulated in this chapter are grounded in ethnographic fieldwork conducted in the spring of 2014 at Chances Dances and Queen! as well as during Boogie McClarin’s house dance classes at The Old Town School of Folk Music.
2
Norton, Jacqui. "The Diggers’ Festival, Organising a community festival with political connotations." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2631.
Full textAbstract:
This chapter examines the organisation of a community festival from an ethnographic perspective drawn from the festival organiser’s viewpoint. It will provide some context on the reasons for founding the Diggers’ Festival and examine key issues and difficulties surrounding the launch and development of a small festival that relates to historical political activities in the market town of Wellingborough, Northamptonshire, UK. As we shall see, most current political festivals in the UK tend to be events launched to commemorate historical milestones that have a political resonance. The chapter will make specific reference to the festival’s funding, audiences and branding, concluding with recommendations on how to move the festival forward. During 2010 the author was asked by the Independent Socialists of Wellingborough (ISW) to organise an evening event to commemorate the 17th century radicals known as the Diggers. As an individual with socialist leanings, the author agreed to promote the first event, which was held during March 2011, and was launched and branded as the Wellingborough Diggers’ Festival. Even though it was in its infancy arguably only an evening event with two professional performers, Ian Saville, a magician who promotes himself as ‘Magic for Socialism’ (Saville, n.d.), and well-established local folk and Americana band The Old Speckled Men, booked, it was felt necessary to launch the festival name and the branding, with the aim being to produce a steady growth into the fourth or fifth years. It was essential to raise awareness of the identity and purpose of the festival amongst like-minded individuals, the local community and people from surrounding areas. The fourth festival grew from being organised solely by the author to having a committee of an additional five volunteers who coordinated an afternoon fringe event based in a town centre public house with three live music artists/bands, including punk/poet Attila the Stockbroker. A writer who had written historical fiction for teenagers, including one that takes its inspiration from Gerrard Winstan- ley and the Diggers, was invited as a guest speaker to present her work in the local library. The local museum hosted a week long display on the Diggers including a copy of the declaration and a copy of a field map dated 1838 identifying the location of the Bareshanks field (the site of the Wellingborough digger community). The programme for the evening event commenced with a local author Alan Moore (V for Vendetta, Watchmen) as a key speaker, followed by performances by two professional live bands with ‘left’ tendencies. In addition to the general considerations of organising a festival, for instance audience, budget, funding, licensing, entertainment and promotion, coordinating a festival with such strong socialist values was going to be a challenge because of the political connotations.
Conference papers on the topic "Old Town School of Folk Music"
1
Pintong, Sarawuth. "Revitalizing The National Folk Play: The Tiger Hunting Folk Play." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002046.
Full textAbstract:
“Kratua Thaeng Suea” is a story of hunting the tigers that trespass into town. It is a Thai traditional folk play which has been passed down from generation to generation for more than 200 years. However, this folk play is rapidly fading away from the Thai society due to the change of aesthetic preference which caused its unpopularity. Nowadays, there are only two troupes left in Bangkok which recently one of them decided to discontinue their show because of COVID-19 situation. How to preserve this intangible cultural heritage and combine it with modern aesthetics for transmission is an urgent issue. This study combines literature research and field trip methods in order to identify some of the problems faced in the dissemination of it. The research results show that, in order to renew this folk play that complement the new aesthetic preference, all related elements of this play such as its story, costumes, music, and performance need to be modernized. The new play will combine “Street Culture” such as street art, street fashion, street music, and street performance into the play with a new storyline which is twisted from the story of a tiger hunter to be rescuing the tigers instead. All of this could draw some attention from the society and thus achieve the goal of sustainable inheritance and preservation of this folk play. The new concept of “Kratua Thaeng Suea” is the combination between the old and the new which does not only reflect the beauty of cultural dynamic or build up the sense of ecological awareness in the form of “Soft Power”, but also provides a “Cultural Revitalizing model” which could be an alternative model to inherit the culture.