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Cape Breton Fiddlers

18 Aug 02 - 08:03 AM (#767392)
Subject: Cape Breton Fiddlers
From: euclid

As a Virginian who has been to Nova Scotia, I say Cape Breton fiddlers are better. Comments?

18 Aug 02 - 11:41 AM (#767444)
Subject: RE: Cape Breton Fiddlers
From: The Pooka

Better, technically? I.e., more proficient? Or, you find you prefer the Cap Breton style & musical culture, which would seem to be a matter of taste?

I know I love Cape Breton music. Also Acadian. "Better", I dunno; not qualified to judge. Dinna have the fiddle. But still tryin' to boost a Real Music Thread, here...

...& so, to stray off-topic immediately, this Connecticut Yankee says Virginians do, or did, make excellent Founding Fathers. Then again, Charlottetown PEI can also stake a claim in that department...plus prettygood fiddling there, too...

18 Aug 02 - 12:22 PM (#767471)
Subject: RE: Cape Breton Fiddlers
From: Bee-dubya-ell

Of course Cape Breton fiddlers are better! They're snowed in for six months out of the year and have nothing to do but practice! At least Virginia fiddlers can get out the front door in Winter! *G*

18 Aug 02 - 01:22 PM (#767497)
Subject: RE: Cape Breton Fiddlers
From: George Seto - af221@chebucto.ns.ca

This is the information from Kate on the course she's teaching. Sounds interesting to me. Might even take a look myself.....

Celtic Studies 310: Performance Analysis of Celtic Arts

Contents:
* Course Description
* Unit Objectives
* Evaluation
* Textbook and Materials

COURSE DESCRIPTION
This course will focus mainly on the music and dance of Ireland, Scotland, and Cape Breton Island, with some exploration of other Celtic regions. Major topics include traditional instruments and the classification of tune types and forms of song and dance. Study of the history and social context of Celtic music and dance will include the influence of politics, religion, and gender, as well as processes such as codification and revival. Mention will be made of key individuals (musicians, composers, and collectors) and important societies and institutions.

In view of the limited amount of time, the course materials will concentrate on historical practices and examples, rather than modern, in order to form a basis for understanding the traditions. However, discussion of contemporary developments will be encouraged, and students may address Celtic music of any description in their projects as long as reference is made to traditional practice.

Neither the ability to read music nor to play an instrument is a prerequisite of the course. Some short musical examples will be given in musical notation, accompanied by corresponding audio versions. Previous knowledge of music theory is not required; all relevant theory will be presented thoroughly.

Students will be evaluated on the basis of their participation in discussions as well as written assignments. The latter will include an essay on a topic of the student's choice, a review of a commercial recording, and several worksheets.

UNIT OBJECTIVES

Unit 1. Definitions
Objective/s: To examine how others have used terms such as "Celtic," "traditional" and "folk." Because these are inherently loose terms, it will not be possible to come up with hard-and-fast definitions; the goal will be to establish a shared understanding of these concepts.

Unit 2. Ancient and Early Celtic Music
Objective/s: To survey what is known about music in the Celtic regions from the medieval period to the eighteenth century. Questions to be addressed include: How much of this music has survived? Why did it change? When and how did the Celtic music of today develop?

Unit 3. Religion, Revival, Intervenors
Objective/s: To study the ways in which people have tried to prohibit, change, guide, shape, and preserve music and dance in the Celtic regions, as well as their reasons for doing so.

Unit 4. Instruments
Objective/s: To learn about the instruments traditionally played in Celtic regions, including how the technology of the instrument affects style. Audio examples will facilitate the comparison of regional styles of playing.

Unit 5. Group Playing
Objective/s: To study the modern development of the performance of Celtic music in groups: the influential ideas of Sean S Rmada, bands, sessions.

Unit 6. Instrumental Music Tune Types
Objective/s: To become familiar with the classification of instrumental melodies into types such as jig, reel, strathspey, march, hornpipe, etc. For those who are new to the subject, a special help section is provided. Students will gain a better understanding of the music by listening to the examples provided and comparing their characteristics.

Unit 7. Dance
Objective/s: To look at the history of dance in the Celtic world; to examine and compare the various types of social and solo dance (using video examples); and to identify influences upon dance forms and styles.

Unit 8. Song
Objective/s: To survey song types of the Celtic regions and study the contexts in which songs have been performed. Language-based investigation of the Celtic-language examples will naturally be limited here, although students who are speakers or learners of these languages will be encouraged to contribute their expertise.

Unit 9. Gender
Objective/s: To compare and contrast the roles played by males and females in traditional Celtic music and dance, to observe how these roles have changed over time, and to consider how changing attitudes have effected the music and dance itself.

Unit 10. Travelling People
Objective/s: To learn about some of the musicians and dancers in Celtic regions who have been travellers: "Gypsies," dancing masters, and others.

EVALUATION
Participation in discussion: 15%
Keywords email: 5%
CD Review: 25%
Tunetypes worksheet: 10%
Instruments worksheet: 10%
Essay: 35%

TEXTBOOK AND MATERIALS
Text:
Vallely, Fintan, ed. 1999. The Companion to Irish Traditional Music.
Cork University Press.

CD containing video examples.

http://www.uccb.ns.ca/distance/--
http://www.DunGreenMusic.com
Halifax, Nova Scotia

18 Aug 02 - 01:30 PM (#767502)
Subject: RE: Cape Breton Fiddlers
From: euclid

Iknow here can be no accounting tastes, but it just seems to me that the Cape Breton techique requires more versatility than the Virginia.

18 Aug 02 - 01:38 PM (#767506)
Subject: RE: Cape Breton Fiddlers
From: The Pooka

Ah. Makes sense to me, euclid. / And that course sure looks interesting, George Seto. And, nonmusican-friendly! Cool.

18 Aug 02 - 06:37 PM (#767620)
Subject: RE: Cape Breton Fiddlers
From: euclid

PJ Cormier and the BArra MacNeils are the 2 artist groups we have learned about - very versatile.

18 Aug 02 - 06:53 PM (#767627)
Subject: RE: Cape Breton Fiddlers
From: Murray MacLeod

euclid, that would be JP Cormier rather than PJ Cormier. He isn't so much a group as a solo artist, although when he plays guitar he certainly sounds like a group.

When he plays fiddle he just sounds like a wonderful Cape Breton fiddler ...

Murray

18 Aug 02 - 10:39 PM (#767709)
Subject: RE: Cape Breton Fiddlers
From: The Pooka

Up the Barra MacNeils! First heard them, by sheer chance, at Charlottetown PEI, 1990. Terrific.

18 Aug 02 - 11:29 PM (#767724)
Subject: RE: Cape Breton Fiddlers
From: Bee-dubya-ell

I had the pleasure of playing in a session with J.P. a few years back and he did a fiddle medley that hit six Major keys. Not too many Virginee fiddlers try that.

19 Aug 02 - 03:29 PM (#768082)
Subject: RE: Cape Breton Fiddlers
From: Peter Kasin

You might not have heard fiddlers on the same par with Cape Breton's finest. Could be an apples and oranges situation. Have you heard Bruce Molsky? He brings out the complex rythms and layers of old timey fiddling. I think he just moved from Virginia, though :-).

Chanteyranger

19 Aug 02 - 05:23 PM (#768122)
Subject: RE: Cape Breton Fiddlers
From: GUEST,Eric

Every where you go in Cape Breton the fiddle music cahnges, very local interpertation of the common sets of dance tunes adds to the flavor of the Island. The music is still played for the dance which keeps it strong and vibrant and as varied as the many communities on the Island.

19 Aug 02 - 05:44 PM (#768136)
Subject: RE: Cape Breton Fiddlers
From: Desert Dancer

Apples and oranges, it seems to me. Why bother trying to say who's "better"? On what basis of comparison?

That said, I love Cape Breton fiddling and had a great visit there this summer. Found a cd that does what I wanted to do -- record the sounds you hear at concerts and dances along the "Ceilidh Trail": The Heart of Cape Breton, Fiddle Music Recorded Live Along the Ceilidh Trail, from Smithsonian Folkways (SFW CD 40491).

~ Becky in Tucson

19 Aug 02 - 06:09 PM (#768152)
Subject: RE: Cape Breton Fiddlers
From: Eric

Rounder Records, as part of their North American Series, is releasing a two CD set of fiddlers from Inverness and Mabou. The style that was played during the fifties and a bit later. The "Soft Bow" style of playing.

28 Aug 02 - 03:59 PM (#773147)
Subject: RE: Cape Breton Fiddlers
From: GUEST,Ron Stiskin

Eric,

I've never before heard the older style of Cape Breton fiddle playing referred to as the "soft bow" style. What does the term refer to?

"Rounder Records, as part of their North American Series, is releasing a two CD set of fiddlers from Inverness and Mabou. The style that was played during the fifties and a bit later. The "Soft Bow" style of playing. "

29 Aug 02 - 12:35 PM (#773702)
Subject: RE: Cape Breton Fiddlers
From: GUEST,andi

Eric,

I would love to get my hands on that cd ..do you have any info as to release date/ ordering, ect? thanks , andi PS Sometimes the best fiddlers are the ones who you come on by chance. When i was at the Gaelic College we got treated to an impromptu "concert" by a gent named Joe Peter ...I didn't get his last name...utterly fantastic!

29 Aug 02 - 01:21 PM (#773736)
Subject: RE: Cape Breton Fiddlers
From: Desert Dancer

Scroll down here on the Rounder web site for some info on the upcoming albums (but no real answers!). Looks like they're due out this year. You can order directly from Rounder or check your favorite outlet.