Archive-Date: Thu, 01 Apr 2004 12:06:38 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <006801c41824$cab40060$468f4a0c-AT-compaq14453453> From: "Paul Stamler" Reply-To: ECD-AT-playford.slac.stanford.edu To: "ecd list" Subject: St. Louis Playford Ball, April 17, 2004 Date: Thu, 1 Apr 2004 14:06:16 -0600 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi folks: The St. Louis English Country Dancers present their annual spring Playford Ball on Saturday, April 17, 2004, from 7:30 - 10:30 pm. The ball will be held at Brentwood Congregational (UCC) Church, 2400 S. Brentwood Blvd. (corner of Litzsinger Road) in Brentwood, MO, an inner-ring suburb of St. Louis, and will feature music by the Original Speckled Band. All dances will be walked through; fancy dress (*your* definition) is encouraged. Please bring snacks and treats for the intermission! Dance leader Peter Wollenberg and his jovial crew will choose from the following dances: Elizabeth Greenwich Park Hole in the Wall Indian Princess Knole Park Lover's Knot Mr. Cosgill's Delight Picking Up Sticks Phoenix Rejuvenated Physical Snob Sally in Our Alley Take a Dance Westmoreland Wibsey Roundabout For more information, directions, etc., please see our website (below) or contact me (also below). A splendid time is guaranteed for all. Paul J. Stamler 314-664-9207 pstamler-AT-pobox.com Website: http://members.aol.com/paradiseMO/english.html ================================================================================ Archive-Date: Thu, 01 Apr 2004 13:19:53 PST Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Message-ID: Date: Thu, 1 Apr 2004 13:19:29 -0800 To: ECD Mailing List From: Beth Zekley Reply-To: ECD-AT-playford.slac.stanford.edu Subject: thank you all Content-Type: text/plain; charset="us-ascii" ; format="flowed" Thank you all for your helpful suggestions regarding how musicians learn to play with ECD teaching, and regarding intermission times and dance programming. I will pass the ideas onto the band tonight - and any further discussion on to them at the next rehearsal. Thanks again. Musically yours, Beth Zekley *** LARK CAMP *** PO Box 1176 Mendocino, California 95460 USA Lark Camp Phone (707) 964-4826 Lark Camp Fax (707) 964-8659 email beth-AT-larkcamp.com Lark Camp Website http://www.larkcamp.com Mickie & Elizabeth Website http://www.larkcamp.com/me Lark Camp BBS http://bbs.mcn.org/cgi-bin/ultimatebb.cgi?category=3 *** MENDOCINO ENGLISH COUNTRY DANCES *** http://www.larkcamp.com/mendoengdance.htm Phone (707) 964-4826 ================================================================================ Archive-Date: Thu, 01 Apr 2004 15:27:18 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <002b01c41840$d1011860$208c4a0c-AT-compaq14453453> From: "Paul Stamler" Reply-To: ECD-AT-playford.slac.stanford.edu To: "ecd list" Subject: Addendum - St. Louis Playford Ball Date: Thu, 1 Apr 2004 17:26:52 -0600 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi folks: Ahem -- I forgot to mention the price of the St. Louis Playford Ball, on April 17th, 2004. It will be $15 per dancer, $8 for students. Sorry! Peace, Paul ================================================================================ Archive-Date: Thu, 01 Apr 2004 21:17:58 PST Sender: owner-ecd-AT-playford.slac.stanford.edu From: "Simone Verheyen" Reply-To: ECD-AT-playford.slac.stanford.edu To: CC: "Radboud Koop" Subject: FW: Wandering waltz contra Date: Fri, 2 Apr 2004 07:17:11 +0200 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit hello everybody, a friend of mine (he lives in Holland = the Netherlands, Europe). In order ro produce a CD with a mixture of international folk dances, he is looking for more information about the dance, but especially about the tune used for it. If you have something to tell about dance and/or tune, please contact Radboud. You find his email address under "original message". Thanks a lot for giving it a thought ! Regards, Simone -----Original Message----- From: Radboud Koop [mailto:R.Koop-AT-sron.nl] Sent: zondag 7 maart 2004 11:53 To: simoneverheyen-AT-pi.be Subject: Wandering waltz contra Hoi Simone, hier de info over de Wandering waltz contra. De vraag die ik heb is: wie is de rechthebbende van de muziek, naam van een persoon of instelling en contactadres (tel, fax, email). ========================== The dance is called "Wandering waltz contra" and, as far as I can tell, it was made by Chip Hendrickson (although also the name Stew Shacklette seems to be somehow connected). The dance is included in the book "Contras as Ralph Page Called Them" from 1990. The music that we are looking for (to be used for this dance), is taken from a very old LP: "None so pretty" by the Berkeley Scottisch Players Cabbage Records 405 (probably the name of the track is "Wandering waltzes", but I'm not sure) Is this band still active? Is the label/company "Cabbage Records" still existing? And what is the contact information? ============================ Alvast bedankt als je iets voor me kunt vinden (eventueel via die discussie-site), groetjes, Radboud ================================================================================ Archive-Date: Mon, 05 Apr 2004 19:43:51 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <40721961.3080605-AT-sbcglobal.net> Date: Mon, 05 Apr 2004 19:43:45 -0700 From: Kalia Kliban Reply-To: ECD-AT-playford.slac.stanford.edu MIME-Version: 1.0 To: ecd Subject: Bay Area Playford Ball Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Kudos to all who were involved in the production of this weekend's Bay Area Playford Ball, and in particular to Tom Roby, the caller for the event. Tom did a wonderful job of organizing and selection, was a pleasant presence on the stage, and generally made it a lovely evening. The decorations committee also did a fabulous job, and the food was, as always, delightful, though I confess to spending most of my time hovering around the devilled eggs. Thank you all for a wonderful evening. -- Kalia Kliban kalia-AT-sbcglobal.net ================================================================================ Archive-Date: Mon, 05 Apr 2004 19:50:45 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20040406025037.84860.qmail-AT-web60401.mail.yahoo.com> Date: Mon, 5 Apr 2004 19:50:37 -0700 (PDT) From: Dan Pearl Reply-To: ECD-AT-playford.slac.stanford.edu Subject: FW: Wandering waltz contra To: ECD-AT-ssrl04.SLAC.STANFORD.EDU MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The Cabbage Band issued two lovely Lp's of music for Scottish Dancing. "None So Pretty" was released in 1979. The address on the album for Cabbage Records is 1015 Mariposa Av., Berkeley CA 94707, but I'd bet that this is just someone's home. The director and arranger was named Barbara Bouwsma McOwen, but now she goes by the name Barbara McOwen. She and her husband Robert McOwen (who also performer on the recording) moved to Boston shortly after the recording of this, their second album. Contact Barbara at bmcowen-AT-theworld.com Wandering Waltzes is actually a medley of three tunes: Bonnie George Campbell (Trad. Scottish), Wandering Willie (pub. Nathaniel Gow), The Blackbird (Trad. Scottish). __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ ================================================================================ Archive-Date: Tue, 06 Apr 2004 07:13:43 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Content-Type: text/plain MIME-Version: 1.0 From: Paul Davis Reply-To: ECD-AT-playford.slac.stanford.edu Date: Tue, 6 Apr 2004 15:13:34 +0100 (BST) To: ECD-AT-ssrl04.slac.stanford.edu Subject: Reduced Sidmouth ticket Message-ID: <20040406141334.54FAD2A0E7-AT-webmail223.herald.ox.ac.uk> Content-Transfer-Encoding: base64 QSByZW1pbmRlciB0byBhbnlvbmUgdGhpbmtpbmcgb2YgZ29pbmcgdG8gU2lkbW91dGggKFVL IEp1bHkgMzAgdG8gQXVnIDYpIHRoZSANCnRpY2tldHMgYXJlIG9uIHJlZHVjdGlvbiB1bnRp bCB0aGUgZW5kIG9mIEFwcmlsLiAgSW4gYWRkaXRpb24gaWYgeW91IGNhbiBnZXQgMTAgDQpw ZW9wbGUgdG9nZXRoZXIgdGhlcmUncyBhIGZ1cnRoZXIgMTAlIG9mZi4gIFdlJ3ZlIGEgZ3Jv dXAgb2YgMTAgYnV0IHRoZSANCkF1c3RyYWxpYW4gbWVtYmVyIGhhcyBkcm9wcGVkIG91dC4g IElmIGFueW9uZSBpcyBpbnRlcmVzdGVkIGluIGEgZnVsbCBhZHVsdCANCnNlYXNvbiB0aWNr ZXQgZm9yIFNpZG1vdXRoIGF0IKMxMjIgdGhlbiBsZXQgbWUga25vdyBhdCANCnBhdWwuZGF2 aXNAb3Vjcy5veC5hYy51ayAgDQoNCkZpcnN0IGNvbWUgZmlyc3Qgc2VydmVkDQoNClBhdWwN Cg0KDQo= ================================================================================ Archive-Date: Tue, 06 Apr 2004 16:17:15 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu From: "Michael Barraclough" Reply-To: ECD-AT-playford.slac.stanford.edu To: Subject: New notation uploaded Date: Wed, 7 Apr 2004 00:18:17 +0100 Message-ID: <001201c41c2d$727fca20$0500a8c0-AT-ntworld.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit After a long period of inactivity I have re-started uploading my interpretations of dances published in England during the seventeenth and eighteenth century. The dance just uploaded is "What You Please". I will refrain from bombarding the list with details of each new upload. However, if you visit the page you are able to use a free service to be notified by email when new interpretations have been uploaded. The dances can be found at http://www.michaelbarraclough.com/michael/notations.html. Michael Barraclough http://www.michaelbarraclough.com --- All messages scanned by AVG 7.0 Anti-Virus scanner and UBEBlock Anti-Spam filter. ================================================================================ Archive-Date: Tue, 06 Apr 2004 16:20:32 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 06 Apr 2004 16:18:17 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: New notation uploaded To: Michael Barraclough CC: ECD-AT-SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <01L8M6VC9AT291X837-AT-SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=iso-8859-1 Michael Barraclough wrote: > After a long period of inactivity I have re-started uploading my > interpretations of dances published in England during the seventeenth and > eighteenth century. The dance just uploaded is "What You Please". I will > refrain from bombarding the list with details of each new upload. However, > if you visit the page you are able to use a free service to be notified by > email when new interpretations have been uploaded. > The dances can be found at > http://www.michaelbarraclough.com/michael/notations.html. > Michael Barraclough > http://www.michaelbarraclough.com Thanks very much for doing this. I think a nice compromise between silence and bombardment -- the music of a bombard being the exact opposite of silence, in my experience - would be to do a monthly post summarizing that month's upload activity. -- Alan -- =============================================================================== Alan Winston --- WINSTON-AT-SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Tue, 06 Apr 2004 17:11:12 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <40734710.6020306-AT-sbcglobal.net> Date: Tue, 06 Apr 2004 17:10:56 -0700 From: Jon Berger Reply-To: ECD-AT-playford.slac.stanford.edu MIME-Version: 1.0 To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: New notation uploaded References: <001201c41c2d$727fca20$0500a8c0-AT-ntworld.com> Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit By the way, the fact that Michael's page contains the tune in ABC format but not standard musical notation inspires me to mention the wonderful ABC-to-notation converter here: http://www.concertina.net/tunes_convert.html You just past the ABC text into a field on the screen, push a button, and the music appears, ready to print and hand to your band. There are any number of ways to deal with ABC (understanding it is one, I suppose, though I've never quite been able to manage that), but this is by far the easiest I've encountered. It will even play the tune for you, and if there are chords marked in the tune, it will play those too. Pretty spiffy. -- Jon Berger http://pages.sbcglobal.net/jberger ================================================================================ Archive-Date: Mon, 12 Apr 2004 13:59:45 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <5.2.0.9.0.20040412133844.011d5d40-AT-popserver.panix.com> Date: Mon, 12 Apr 2004 13:58:49 -0700 To: ECD-AT-ssrl04.slac.stanford.edu From: Sharon Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Mendocino English Week Update MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="=====================_572468055==.ALT" --=====================_572468055==.ALT Content-Type: text/plain; charset="us-ascii"; format=flowed On behalf of the BACDS Mendocino English Week committee, I'm extremely happy to report that our petition for work visas for Andrew Shaw and Paul Sartin has been approved! Paul and Andrew will still have to take their applications to the U.S. consulate in London to get their actual visas, but we foresee no problems in their being able to do so well before July. Andrew and Paul join a stellar staff (Mary Devlin, David Newitt, Andra Horton, Barbara Greenberg, Dan Beerbohm, Shira Kammen, Wayne Hankin, more) for what promises to be a super week of English music and dance July 10-17 in the beautiful California redwoods. Camp is filling up, but you can still get in your application before the April 15th lottery deadline. For a registration form, go to http://www.bacds.org/camps/eweek2004/regform.html And welcome aboard! Sharon Green --=====================_572468055==.ALT Content-Type: text/html; charset="us-ascii" On behalf of the BACDS Mendocino English Week committee, I'm extremely happy to report that our petition for work visas for Andrew Shaw and Paul Sartin has been approved!   Paul and Andrew will still have to take their applications to the U.S. consulate in London to get their actual visas, but we foresee no problems in their being able to do so well before July.

Andrew and Paul join a stellar staff (Mary Devlin, David Newitt, Andra Horton, Barbara Greenberg, Dan Beerbohm, Shira Kammen, Wayne Hankin, more) for what promises to be a super week of English music and dance July 10-17 in the beautiful California redwoods.  Camp is filling up, but you can still get in your application before the April 15th lottery deadline.  For a registration form, go to http://www.bacds.org/camps/eweek2004/regform.html
And welcome aboard!

Sharon Green --=====================_572468055==.ALT-- ================================================================================ Archive-Date: Mon, 12 Apr 2004 15:37:09 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu From: "Paul Sartin" Reply-To: ECD-AT-playford.slac.stanford.edu To: Subject: RE: Mendocino English Week Update Date: Mon, 12 Apr 2004 23:36:30 +0100 Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0004_01C420E6.FB8857C0" This is a multi-part message in MIME format. ------=_NextPart_000_0004_01C420E6.FB8857C0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Also on staff - the very great box and piano player, NoeL Cragg. ___________ NB Change of mailing address Paul Sartin The Old Booking Hall Wherwell Andover Hampshire SP11 7JA 01264 860791 07711 485798 -----Original Message----- From: owner-ecd-AT-ssrl04.slac.stanford.edu [mailto:owner-ecd-AT-ssrl04.slac.stanford.edu]On Behalf Of Sharon Green Sent: 12 April 2004 21:59 To: ECD-AT-ssrl04.slac.stanford.edu Subject: Mendocino English Week Update On behalf of the BACDS Mendocino English Week committee, I'm extremely happy to report that our petition for work visas for Andrew Shaw and Paul Sartin has been approved! Paul and Andrew will still have to take their applications to the U.S. consulate in London to get their actual visas, but we foresee no problems in their being able to do so well before July. Andrew and Paul join a stellar staff (Mary Devlin, David Newitt, Andra Horton, Barbara Greenberg, Dan Beerbohm, Shira Kammen, Wayne Hankin, more) for what promises to be a super week of English music and dance July 10-17 in the beautiful California redwoods. Camp is filling up, but you can still get in your application before the April 15th lottery deadline. For a registration form, go to http://www.bacds.org/camps/eweek2004/regform.html And welcome aboard! Sharon Green ------=_NextPart_000_0004_01C420E6.FB8857C0 Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable
Also=20 on staff - the very great box and piano player, NoeL Cragg.=20

___________

NB Change of mailing = address

Paul=20 Sartin
The Old Booking = Hall
Wherwell
Andover
Hampshire
SP11=20 7JA

01264 860791
07711 485798

-----Original Message-----
From:=20 owner-ecd-AT-ssrl04.slac.stanford.edu=20 [mailto:owner-ecd-AT-ssrl04.slac.stanford.edu]On Behalf Of Sharon=20 Green
Sent: 12 April 2004 21:59
To:=20 ECD-AT-ssrl04.slac.stanford.edu
Subject: Mendocino English Week=20 Update

On behalf of the BACDS Mendocino English Week = committee, I'm extremely happy to report that our petition for work = visas for=20 Andrew Shaw and Paul Sartin has been approved!   Paul and = Andrew=20 will still have to take their applications to the U.S. consulate in = London to=20 get their actual visas, but we foresee no problems in their being able = to do so=20 well before July.

Andrew and Paul join a stellar staff (Mary = Devlin,=20 David Newitt, Andra Horton, Barbara Greenberg, Dan Beerbohm, Shira = Kammen, Wayne=20 Hankin, more) for what promises to be a super week of English music and = dance=20 July 10-17 in the beautiful California redwoods.  Camp is filling = up, but=20 you can still get in your application before the April 15th lottery=20 deadline.  For a registration form, go to http://www.bacds.org/camps/eweek2004/regform.html<= BR>And=20 welcome aboard!

Sharon Green ------=_NextPart_000_0004_01C420E6.FB8857C0-- ================================================================================ Archive-Date: Mon, 12 Apr 2004 17:42:44 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <5.2.0.9.0.20040412173652.011bbf08-AT-popserver.panix.com> Date: Mon, 12 Apr 2004 17:42:00 -0700 To: ECD-AT-ssrl04.slac.stanford.edu From: Sharon Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: Mendocino English Week Update MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="=====================_585859170==.ALT" --=====================_585859170==.ALT Content-Type: text/plain; charset="us-ascii"; format=flowed At 11:36 PM 4/12/2004 +0100, Paul Sartin wrote: >Also on staff - the very great box and piano player, NoeL Cragg. I _knew_ I was going to get in trouble for not listing all the talent. Hugs and apologies to Noel, with whom Paul definitely bonded last summer (they played an amazing ceilidh), and to our two wonderful pianists, Ruth Anne Fraley and Rebecca King, who round out our multi-talented staff. It's going to be a great week! Sharon Green --=====================_585859170==.ALT Content-Type: text/html; charset="us-ascii" At 11:36 PM 4/12/2004 +0100, Paul Sartin wrote:
Also on staff - the very great box and piano player, NoeL Cragg.

I _knew_ I was going to get in trouble for not listing all the talent.  Hugs and apologies to Noel, with whom Paul definitely bonded last summer (they played an amazing ceilidh), and to our two wonderful pianists, Ruth Anne Fraley and Rebecca King, who round out our multi-talented staff.  It's going to be a great week!

Sharon Green
--=====================_585859170==.ALT-- ================================================================================ Archive-Date: Thu, 15 Apr 2004 00:56:18 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <003801c422bf$1051a2e0$f48f4a0c-AT-compaq14453453> From: "Paul Stamler" Reply-To: ECD-AT-playford.slac.stanford.edu To: "ecd list" Subject: St. Louis Playford Ball, Saturday, April 17th Date: Thu, 15 Apr 2004 02:55:47 -0500 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi folks: Just a last reminder that the St. Louis English Country Dancers' spring Playford Ball is this Saturday, April 17th, from 7:30 - 10:30 pm at Brentwood Congregational UCC church, Brentwood & Litzsinger (a couple of blocks north of Manchester) in Brentwood, MO. Music by the Original Speckled Band, calling by Peter Wollenberg and his Gang, and snacks by the participants. Fancy dress (*your* definition) encouraged but not required; all dances will be walked through and called. The cost is $15.00 per person (regular rate; student rate is $8.00 per person.) See ya there! Paul J. Stamler pstamler-AT-pobox.com 314-664-9207 Website: http://members.aol.com/paradiseMO/english.html ================================================================================ Archive-Date: Thu, 15 Apr 2004 07:27:15 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 15 Apr 2004 07:26:46 -0700 Subject: Grand Ball 2006 From: "Ed St.Germain" Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The following message was originally posted to another list, dealing more with history than dance, but I thought the folks here might be interested. I'm already looking at a 2006 calendar and planning! Best regards, Ed ******************************************************** Subject: The Ladies of Refined Taste invite you... Dear List Members of the Northern Colonies, The Sutton, MA event being held May 1 & 2, looks to be quite the weekend for our area and as such...... "The Ladies of Refined Taste" cordially invite you to visit our fly at the Sign of the Dancing Couple in Merchants Square to view our traveling Grande Fashion Exposition Clothing of the upper classes will be on display in a museum style presentation Saturday, May 1 from 10am to 4pm with a Fashion Show at 1 o'clock. Come join Mrs. Peabody as she entertains her guests, Mrs. Wellheeled, Mrs. Welloff, and Mrs. Wellmounted, in her parlor. Help is hard to come by so she is hoping her new maid servant, Tipsy Nairdowell, will not humiliate her in front of the fine Ladies and her Mantua maker, Miss Cherry Dawson, who will be stopping by with her latest goods just in from England. I'd also like to take this time to let you know that plans are in the works for a Victory at Yorktown Celebration Ball to be held in Worchester, MA on November 11, 2006. We have just put the website on-line at www.GrandBall2006.com. Our expectations for this event are to take the celebration of the 225th anniversary of the surrender at Yorktown here in New England to an unprecedented level of refined elegance and sophistication. This unique opportunity will allow those interested in taking 18th century interpretation to a whole new level and to do so with the help of an organization set up just for that purpose. Beautiful Mechanic's Hall in Worchester, MA inspires this grand event with more than enough room for the anticipated 500 guests. It is a chance to dance the minuet dressed in your most beautiful clothing while practicing 18th century courtesies and deportment...and so much more. Sound intriguing? Wondering how you would prepare? We don't expect everyone to just magically be ready to take on such an endeavor. It will take preparation, time and resources. We hope to make this journey into the upper levels of the 18th century a series of events to be enjoyed along the way. As mentioned, we have set up a Grande Fashion Exposition as a traveling museum-like display of fine-dress reproductions. The May 1 Sutton event will be our first presentation. Come see what our Preparations Committee, known as the Ladies of Refined Taste, have to inspire you. There is just so much to tell you about but you can visit www.GrandBall2006.com for more information. Keep checking back for updates and sign up on our mailing list to be informed of planned events. Your most humble servants, Rhondda McConnon and Carrie Midura Co-Directors Hallie Larkin, Sandie Tarbox, Sandy Spector and Stephanie Smith Preparations Committee ================================================================================ Archive-Date: Thu, 15 Apr 2004 07:33:17 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20040415143308.89875.qmail-AT-web80201.mail.yahoo.com> Date: Thu, 15 Apr 2004 07:33:08 -0700 (PDT) From: SUSAN Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Bicky McLain has left us... To: ecd-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-360372292-1082039588=:89787" --0-360372292-1082039588=:89787 Content-Type: text/plain; charset=us-ascii This morning's local paper includes the news of the passing of Beatrice (Bicky) Kane McLain, folklorist, scholar, singer, storyteller, and long-time dance leader at Berea College's Christmas Country Dance School. The McLain family website includes a tribute to Bicky, along with evocative photographs of her - it can be found at http://mclains.com/bicky. There is also an online obituary and guestbook for Bicky at Legacy.com Bicky lived a long and remarkable life of 98 years. During her time, she touched many other lives and left an indelible impression of intelligence, knowledge, generosity, humor, and grace upon all whom she encountered. She was a very great lady. I am blessed to have known Bicky, and will miss her sadly. Her family suggests contributions to the Frank Smith Scholarship Fund of Berea College's Christmas Country Dance School in her memory.. Susan Booker Lexington, KY --0-360372292-1082039588=:89787 Content-Type: text/html; charset=us-ascii
This morning's local paper includes the news of the passing of Beatrice (Bicky) Kane McLain, folklorist, scholar, singer, storyteller, and long-time dance leader at Berea College's Christmas Country Dance School. The McLain family website includes a tribute to Bicky, along with evocative photographs of her - it can be found at http://mclains.com/bicky.  There is also an online obituary and guestbook for Bicky at Legacy.com
 
Bicky lived a long and remarkable life  of 98 years. During her time, she touched many other lives and left an indelible impression of intelligence, knowledge, generosity, humor, and grace upon all whom she encountered. She was a very great lady.
 
I am blessed to have known Bicky, and will miss her sadly. Her family suggests contributions to the Frank Smith Scholarship Fund of Berea College's Christmas Country Dance School in her memory..
 
Susan Booker
Lexington, KY
 
--0-360372292-1082039588=:89787-- ================================================================================ Archive-Date: Sat, 17 Apr 2004 06:48:11 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 17 Apr 2004 09:47:53 -0400 (EDT) From: Terence Gaffney Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Subject: Pre-NEFFA party in Arlington, Mass Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dear Friends, If you're thinking of coming to the Boston area for NEFFA, please join us for our Pre-NEFFA party at the Park Avenue Church in Arlington. This year dances will be led by Boston Centre Staff, with music by members of "Bare Necessities". This dance is the Boston Centre's NEFFA kick-off--your presence always makes it special. The dance goes from 7:30-10:30, directions and information can be found at our web site http://www.cds-boston.org/english.html. Regular dancers are good about finding rides home for our out of town guests. Best, Terry ================================================================================ Archive-Date: Sat, 17 Apr 2004 08:50:05 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 17 Apr 2004 11:49:03 -0400 Subject: Re: Pre-NEFFA party in Arlington, Mass Content-Type: text/plain; charset=US-ASCII; format=flowed MIME-Version: 1.0 (Apple Message framework v553) From: Carl Friedman Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Content-Transfer-Encoding: 7bit Message-ID: On what day? Carl On Saturday, April 17, 2004, at 09:47 AM, Terence Gaffney wrote: > Dear Friends, > If you're thinking of coming to the Boston area for NEFFA, please > join us > for our Pre-NEFFA party at the Park Avenue Church in Arlington. This > year > dances will be led by Boston Centre Staff, with music by members of > "Bare > Necessities". > > This dance is the Boston Centre's NEFFA kick-off--your presence always > makes it special. > > The dance goes from 7:30-10:30, directions and information can be > found at > our web site http://www.cds-boston.org/english.html. Regular dancers > are > good about finding rides home for our out of town guests. > > Best, > Terry > > > ================================================================================ Archive-Date: Sat, 17 Apr 2004 21:45:41 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20040418044525.73620.qmail-AT-web90005.mail.scd.yahoo.com> Date: Sat, 17 Apr 2004 21:45:25 -0700 (PDT) From: Lyrl Ahern Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Pre-NEFFA party in Arlington, Mass To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable --- Carl Friedman wrote: > On what day? Wednesday, 21 April=20 =09 =09 __________________________________ Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25=A2 http://photos.yahoo.com/ph/print_splash ================================================================================ Archive-Date: Sun, 18 Apr 2004 00:56:12 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Message-ID: Date: Sun, 18 Apr 2004 01:55:51 -0600 To: ECD-AT-ssrl04.slac.stanford.edu From: jared gottlieb Reply-To: ECD-AT-playford.slac.stanford.edu Subject: 8 May - 18th Century Ball, Brisbane (Australia) Content-Type: text/plain; charset="us-ascii" Sellenger's Round presents their 6th annual 18th century dance THE MAY BALL At the MOUNT GRAVATT SHOWGROUND COMMUNITY HALL period costume or formal dress Tickets $30 and $25 concession Saturday 8th May 2004 7 pm until 11.30 pm Music POTCHEEN Calling GREENHILL FREE DANCE TUITION OPEN TO ANYBODY Salvation Army Hall, Paradise Road, Slacks Creek Mondays 26th April, 3rd May, 2-4 pm, tickets on sale at practices Contact Chris or Sheree 07 3806 1343 ================================================================================ Archive-Date: Sun, 18 Apr 2004 07:35:15 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu From: "Carolyn Worthing" Reply-To: ECD-AT-playford.slac.stanford.edu To: Subject: RE: 8 May - 18th Century Ball, Brisbane (Australia) Date: Sun, 18 Apr 2004 10:36:06 -0400 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit what state, country? > -----Original Message----- > From: owner-ecd-AT-ssrl04.slac.stanford.edu > [mailto:owner-ecd-AT-ssrl04.slac.stanford.edu]On Behalf Of jared gottlieb > Sent: Sunday, April 18, 2004 3:56 AM > To: ECD-AT-ssrl04.slac.stanford.edu > Subject: 8 May - 18th Century Ball, Brisbane (Australia) > > > Sellenger's Round presents their > > 6th annual 18th century dance > > THE MAY BALL > > At the MOUNT GRAVATT SHOWGROUND COMMUNITY HALL > > period costume or formal dress > > Tickets $30 and $25 concession > > Saturday 8th May 2004 7 pm until 11.30 pm > > Music POTCHEEN Calling GREENHILL > > FREE DANCE TUITION OPEN TO ANYBODY > > Salvation Army Hall, Paradise Road, Slacks Creek > > Mondays 26th April, 3rd May, 2-4 pm, > > tickets on sale at practices > > Contact Chris or Sheree 07 3806 1343 > ================================================================================ Archive-Date: Sun, 18 Apr 2004 09:21:29 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 18 Apr 2004 17:14:01 +0100 (BST) From: Jen Wood Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Subject: RE: 8 May - 18th Century Ball, Brisbane (Australia) Message-ID: References: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Sun, 18 Apr 2004, Carolyn Worthing wrote: > what state, country? Possibly Brisbane, Australia? (According to the subject line) Jen ================================================================================ Archive-Date: Sun, 18 Apr 2004 21:02:22 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <64052.64.231.140.190.1082347320.squirrel-AT-webmail.look.ca> Date: Mon, 19 Apr 2004 00:02:00 -0400 (EDT) From: millyard-AT-look.ca Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Subject: A Weekend with Colin Hume Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit The Toronto English Country Dancers proudly present A Weekend with Colin Hume Featuring Mary Lea, Jacqueline Schwab and Earl Gaddis of Bare Necessities and special guests Flapjack June 18-20, 2004 Toronto, Canada Preliminary programme: Friday Night Contra Dance with Flapjack Saturday English Workshops Saturday Night English Ball (all dances taught) Sunday Advanced English Workshop Callers' Workshops with Colin Hume Musicians' Workshop with Bare Necessities Traditional Dance Demonstrations and more! Weekend package before June 4 $55 CAN, $43 US; after June 4 $65 CAN, $50 US Saturday package before June 4 $38 CAN, $31 US; after June 4 $40 CAN, $32 US You won't want to miss Colin's first visit to Canada: a five-star event bringing together some of the most spectacular talent from England, Canada and the United States. This is a weekend packed with dances, workshops, master classes, demos and more, all performed to the music of two of the most popular bands on the continent! To print a registration form, or to find further details, click on http://www.interlog.com/~cedar/c.html Toronto English Country Dancers http://www.interlog.com/~cedar/ ================================================================================ Archive-Date: Wed, 21 Apr 2004 06:56:57 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <4.2.2.20040421094230.02012c80-AT-shell.shore.net> Date: Wed, 21 Apr 2004 09:52:10 -0500 To: ecd-AT-ssrl04.slac.stanford.edu From: Mark R Dobyns Jones Reply-To: ECD-AT-playford.slac.stanford.edu Subject: NEFFA publishes "Give-and-Take" by Larry Jennings MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed (Admittedly somewhat off topic, but of interest to many dancers, callers and dance administrators on the ECD list.) The New England Folk Festival Association (NEFFA) is pleased to announce the publication of a long awaited dance book by Larry Jennings, "Give-and-Take," the sequel to his 1983 "Zesty Contras." "Give-and-Take's" 176 pages are about one-half dance sequences (628 of them, plus 90 more variations), one-quarter pedagogical material, and one-quarter everything else (including provocative remarks, exhortative essays, arcane analyses and guidance for dance administrators). - Initial release will be at NEFFA's annual festival, - in Natick Massachusetts USA - April 23 through April 25, 2004. There will also be a dance session during this 60th anniversary of the NEFFA Festival, entitled "A Salute to Larry Jennings" on Saturday at 6:30 PM. Lisa Greenleaf, Dan Pearl, Sue Rosen and Linda Leslie will call, to music by "Last Gaspe" (apologies for no accent on the "e" on Gaspe) AFTER the festival, the book will be available in single-copy quantities from the Country Dance and Song Society . (CDSS will not be in possession of the book until after the Festival) (Publisher's suggested retail price: $22.50; CDSS may establish a different price.) The book will be available for bulk sales through the New England Folk Festival Association office . Eventually the NEFFA web site will display a number of pages from the book, and possibly an index of authors of dances and dance titles. Here's the table of contents for "Give-and-Take"; further below, is the table of contents for the 1983 "Zesty Contras" book by Larry Jennings. Give-and-Take: a sequel to ZESTY CONTRAS, featuring 628 Dances in the New England Style, Provocative remarks, Exhortative essays and Arcane Analyses By Larry Jennings, 2004 Published by the New England Folk Festival Association (NEFFA) Suggested retail price $22.50 Pages: vii + 168 Size: 8-1/2 x 11 inches Give-and-Take -- Table of Contents FOREWORD iii PREFACE iv ACKNOWLEDGMENTS v PERMISSIONS v I. INTRODUCTION I-1. Vision and Titles 1 I-2. Content of Give-and-Take 1 I-3. Selection of Dances 1 I-4. Composer, Caller & Editor Relations 2 I-5. Caller Alert 2 II. REFERENCE II-1. Glossary 3 II-2. Explanatory Notes 6 EN1: Balances 6 EN2: Current Foursome 6 EN3: Diagonal Action 6 EN4: End Effects 8 EN5: Formation 8 EN6: Heys 10 EN7: Moving Up or Down 11 EN8: Neighbors 11 EN9: Neutrals 11 EN10: Out of the Minor Set 12 EN11: Progression 12 EN12: Shadows 12 EN13: Stations 12 III. DANCEMISTRY III-1. The Way Duple Minor Contra Dances Work 13 III-2. Why Diagram Dances? 14 III-3. Set Spacing 14 III-4. Diagrams 15 III-5. Nomenclature for duple minor contras 23 III-6. Foursome Classes 28 III-7. Algebraic Analysis of Diagrams 29 IV. THE ESSENCE OF CONTRA DANCING IV-1. You Get Out What You Put In 32 IV-2. Is There a Minor League Contra Dancer? 33 V. ESPECIALLY FOR CALLERS V-1. The Travails of a Booking Coordinator 35 V-2. Time Management 36 V-3. Discretionary Time 37 V-4. Set Management 38 V-5. The "Get Through It" Syndrome 41 V-6. Genuine Feedback 41 V-7. Effective Lingo 42 V-8. Pitfalls for an Unwary Caller 44 V-9. Spicing Your Program 45 V-10. Teaching Without Lecturing 45 V-11. Trends in Choreography 47 V-12. Are You Boxed In? 48 V-13. Composers' Opportunities 49 VI. TOPICS IN ADMINISTRATION VI-1. Pathways to Contra Nirvana 51 VI-2. The Facilitator's Role in Reaching Contra Nirvana 52 VI-3. The Contra Dance Contract 54 VI-4. Procedures for Booking Coordinators 55 VI-5. An Implementation of Telling It Like It Is 56 VI-6. Fake Problems in the Contra Dance World 57 VII. LARRY SAYS VII-1. A Collection Of Contra Anecdotes 62 VII-2. The "We Did It" And The "Something's Wrong" Syndromes 60 VII-3. What If We Consistently Checked Up? 60 VII-4. The Proprieties of the Partner Game 61 VIII. TIDBITS FROM DISCUSSION SESSIONS VIII-1. New England Traditional Dancing Where Are We Going? 62 VIII-2. Minutes Of Callers' Roundtable 64 VIII-3. Implementing Your Vision 66 VIII-4. Dancer's Forum: Influencing the Leaders 68 VIII-5. Communication between Producers and Callers 69 VIII-6. What Do We Cherish? 70 VIII-7. Cures For Pet Peeves 72 VIII-8. Caller Vs. Organizer 74 VIII-9. The Name Game 76 VIII-10. Steering Your Dance Series Down The Pathway To Nivana 78 VIII-11. Is The Center Set Syndrome All Bad? 80 VIII-12. The Five Deadly Sins 81 VIII-13. Secrets Of A Successful Series 83 VIII-14. Callers' Problems, "Identifying Opportunities" 84 IX. DANCE TRANSCRIPTIONS IX-1. Notation 86 IX-2. Headings, Piece Counts, Letter References, Abreviations and Symbols 86 IX-3. Contras 89 IX-4. Triplets 155 IX-5. Other Formations 158 APPENDIX - Program Planning Matrix A1 BIBLIOGRAPHY B1 - - - - - - - - - - - - - - - - - - - - - - - - Also by Larry Jennings ZESTY CONTRAS A Selection of 500 New England Style Dances with a Provocative Explanatory Text Published 1983 by NEFFA Suggested Retail price $10.00 ZESTY CONTRAS -- Table of Contents Forward v Author's Preface vii Acknowledgements viii Bibliography xi Part I. Zesty Contras 1. Introduction 1 2. The NEFFA Contra Series 1 3. The local Style - Zesty Dancing 3 4. Scope & Philosophy of This Book 4 Part II. Use of the Transcriptions 5. Preliminaries 6 6. Overview 6 7. Conventions and Lack Thereof 7 8. Glossary 9 Part III. The Mini Lectures ML1. The New England Contra Dance 13 ML2. New England Contra Dancing 13 ML3. More on Zesty Dancing 14 ML4. Fundamentals of Dance Sequences 17 ML5. The Joys and Sorrows of "+" 18 ML6. Composing Your Dance 19 ML7. Dance Transmission 20 ML8. Programming 21 ML9. Musicians and Music 22 ML10. Does Contra Dancing Need You? 24 ML11. Conversations Topics and Suggestions for Administrators and/or Producers 25 - Outline 26 - Notes 27 ML12. Communication Between Caller and Producer 29 ML13. Checklist and Suggestions for Callers 29 - Outline 30 - Notes 31 ML14. A Parting Word 32 Part IV. The Transcriptions A. Contras 33 B. Triplets 73 C. Other Formations 79 Appendix Headings, Piece Counts, Letter References, Abbreviations, and Symbols 89 - - end - - ================================================================================ Archive-Date: Wed, 21 Apr 2004 07:23:47 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20040421142334.7532.qmail-AT-web12207.mail.yahoo.com> Date: Wed, 21 Apr 2004 07:23:34 -0700 (PDT) From: Country Dancers of Westchester Reply-To: ECD-AT-playford.slac.stanford.edu Subject: April Showers & Flowers To: ECD List MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Two -- precipitation and posies -- for the price of admission at the Country Dancers of Westchester's FRIDAY dance party, "April Showers & Flowers," at White Plains, NY, 23 April, 8 - 11pm.=20 The reins (get it?) will be in the hands of guest emcee Graham Christian. Music, of course, by the Anemones. Get complete information at the C.D.W. website: http://www.geocities.com/cdwestchester/=20 Admission for the event is $12.00; it's $10.00 for C.D.W. members. =09 =09 __________________________________ Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25=A2 http://photos.yahoo.com/ph/print_splash ================================================================================ Archive-Date: Wed, 21 Apr 2004 11:43:00 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Message-ID: Date: Wed, 21 Apr 2004 11:42:43 -0700 To: ECD Mailing List From: Beth Zekley Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Mendocino English Country Dance / Lark Camp Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dance away the first day of May. Come join in the MENDOCINO ENGLISH COUNTRY DANCE Saturday, May 1, 2004 at 8:00 pm Beginner instruction at 7:45 pm at the Caspar Community Center $6 Admission * Kids Free All Dances Are Taught * No Partner Required Beginners Encouraged * No Special Dress Required Please bring potluck snacks and beverages to share during the break. We will have a volunteer signup sheet at the dance for a limited number of people willing to help clean up and do other jobs at the dance (free admission for volunteers.) Mendocino English Country Dance Website http://www.larkcamp.com/mendoengdance.htm Live Music By "Take A Dance" English Country Dance Orchestra http://www.larkcamp.com/takeadance.html Instruction And Calling by Elizabeth Zekley & Lea Smith Call Mickie or Elizabeth for more information (707) 964-4826 or email englishdance-AT-larkcamp.com Dances monthly at the Caspar Community Center (between Mendocino & Fort Bragg, California) Map to the Caspar Community Center http://www.casparcommons.org/CCC/WheresCaspar.htm Calendar Of Upcoming Mendocino English Country Dances:2004 Saturday, May Day, May 1, 2004 at 8:00 pm Saturday, June 5, 2004 at 8:00 pm Friday, July 9, 2004 Saturday, August 14, 2004 Saturday, September 4, 2004 Saturday, October 2, 2004 - Alan Winston calling! Saturday, November 6, 2004 Saturday, December 4, 2004 ----------------------------------- Also available on the Mendocino English Country Dance website are downloadable tune books in PDF & ABC formats. http://www.larkcamp.com/mendoengdance.htm **************************** LARK CAMP WORLD MUSIC & DANCE STAFF 2004 July 30-August 7 At the Mendocino Woodlands Dance Instructors & Workshops Jason Adajian - English Country & Morris Dance Jon Berger - English Band Workshop For The Dance, Student Dance Callers Encouraged To Lead Dances Toby Blome - Scandinavian Folk Dance Shirleigh Brannon - Irish Ceili & Step Dance Gary Breitbard - French Dance Nicole Conti - Flamenco Dance Malaika Finkelstein - Beginning East Coast Swing & Charleston, Intermediate Swing (Lindy Hop) Deborah Fischbach - Dancer's Morning Warm-Up, Belly Dance, Rhythms & Improvisation, Zils, Percussion, Veil Work Erik Hoffman - Contras, Squares, Waltzes, Couple Dances, Ham-Bone Leslie Jackson - Sean-Nos (old style) Irish Step Dance Kalia Kliban - English Waltz Clog, Long Sword Antonea Leftheriotis - Greek Dance Janis Reynolds - Irish Set Dancing Heidi Sapere - Informal Dance Jam For All Ages And Levels, Freedom in Movement to Music- For All Ages And Levels Yael Schy - Appalachian Clogging, Cajun & Zydeco Dance Elizabeth Strong - Strengthening and Middle Eastern, Belly Dance Floor Work, Turkish Gypsy Folk Dance Sue Williard - Balkan Dance Over 70 music and vocal instructors also. http://www.larkcamp.com/staff.html For more information Lark Camp Website http://www.larkcamp.com PO Box 1176 Mendocino, California 95460 USA Lark Camp Phone (707) 964-4826 Lark Camp Fax (707) 964-8659 email registration-AT-larkcamp.com **************************** Musically yours, Beth Zekley *** LARK CAMP *** PO Box 1176 Mendocino, California 95460 USA Lark Camp Phone (707) 964-4826 Lark Camp Fax (707) 964-8659 email beth-AT-larkcamp.com Lark Camp Website http://www.larkcamp.com Mickie & Elizabeth Website http://www.larkcamp.com/me Lark Camp BBS http://bbs.mcn.org/cgi-bin/ultimatebb.cgi?category=3 *** MENDOCINO ENGLISH COUNTRY DANCES *** http://www.larkcamp.com/mendoengdance.htm Phone (707) 964-4826 ================================================================================ Archive-Date: Wed, 21 Apr 2004 12:41:54 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu From: "Ric Goldman" Reply-To: ECD-AT-playford.slac.stanford.edu To: "'List - ECD PLAYFORD'" , "BACDS Announce" , "Bay Area Community Dance" Subject: May Day Morris in California Date: Wed, 21 Apr 2004 12:43:42 -0700 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit May 1st is just around the corner and lots of morris dancers will gather all over California to dance up the sun and continue celebrating throughout the day. There will be merrymaking and marvel. Some locations include maypole dances, singing, English Country dance, audience participation, and food & frolic. All of them include good fun. To locate the nearest venue, see what folk are up to, or just find out what this is all about, check out the Californa May Day Morris page at http://rgoldman.org/morris/mayday.htm (or http://shortcut.to/mayday). Thanx, Ric Goldman timelord-AT-rgoldman.org http://rgoldman.org/welcome.htm ================================================================================ Archive-Date: Thu, 22 Apr 2004 10:54:46 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: From: "Duane Woodson" <%RNDLCCHAR514-AT-yahoo.com> Reply-To: ECD-AT-playford.slac.stanford.edu To: ecd-AT-ssrl04.slac.stanford.edu, ecd-request-AT-ssrl04.slac.stanford.edu Subject: [SPAM:######] Fw: Upt0 80% off on Prescr1pt1on DR0GS -- XEN!C-AT-L, C!-AT-L!S, ULTR-AT-M, FIOR!CET V1AGR0, S0MA Date: Thu, 22 Apr 2004 19:54:43 +0100 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="--61721976562940915" ----61721976562940915 Content-Type: text/html; Content-Transfer-Encoding: 7Bit
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    • Our birth is but a sleep and a forgetting; The soul that rises with us, our
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    --William Wordsworth ----61721976562940915-- ================================================================================ Archive-Date: Thu, 22 Apr 2004 13:38:17 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <5.2.0.9.0.20040421153023.010efe58-AT-popserver.panix.com> Date: Thu, 22 Apr 2004 13:36:14 -0700 To: ECD-AT-ssrl04.slac.stanford.edu From: Sharon Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Christine Helwig's New Address MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I've just learned that Christine Helwig has moved within the Whitney Center complex and has a new address there. It is: Christine Helwig Whitney Center Health Center Room 106 200 Leeder Hill Drive Hamden, CT 06517 Christine can be reached by telephone through the Whitney Center main number: 203-281-6745. (Ask for the Health Center.) She would be very happy to receive calls or letters from dance friends. (Her daughter Minka Wallis wants callers to be aware that, of late, Christine has been experiencing periodic episodes of disorientation--nothing for anyone to worry about, but Minka didn't want folks to be taken aback if Christine seemed confused when they called.) Much love, Sharon Green ================================================================================ Archive-Date: Fri, 23 Apr 2004 23:03:57 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: From: "Robby Keller" Reply-To: ECD-AT-playford.slac.stanford.edu To: ecd-AT-ssrl04.slac.stanford.edu, ecd-request-AT-ssrl04.slac.stanford.edu Subject: [SPAM:#####] Test our Internet pharmacy, buy V=?ISO-8859-1?Q?=ED?=agra and other meds. Date: Sat, 24 Apr 2004 14:03:25 +0800 MIME-Version: 1.0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: 8bit No visit to the doctor needed - Safe and easy.
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    implement and other and cited guaranteed "Consensus freedom man open detriment S Kyoto "prove accuses the that abhor practice Malaysia. the divisiveness China, of most the scientific negative LUMPUR, the ================================================================================ Archive-Date: Sat, 24 Apr 2004 18:11:00 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 24 Apr 2004 18:10:10 -0700 Subject: Kimberley Crest From: "Ed St.Germain" Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Some of you may be familiar with a Victorian cottage in Redlands, California, that is known as Kimberley Crest. It was built in 1897 by one of the Kimberley-Clark Paper Company heirs, and is now an Historical Landmark. Today, for the second year, we were there by invitation to demonstrate English Country Dancing. If interested, there are photos at: http://englishcountrydancing.org/kimberleycrest.html We'll be back there again tomorrow, if anyone is in the neighborhood and wants to drop by. Best regards, Ed ================================================================================ Archive-Date: Mon, 26 Apr 2004 11:38:50 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <63606.148.184.176.32.1083004711.squirrel-AT-63.122.103.150> Date: Mon, 26 Apr 2004 14:38:31 -0400 (EDT) Subject: Washington Spring Ball From: "Roger W. Broseus" To: "ECD Mailing List" Reply-To: ECD-AT-playford.slac.stanford.edu MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Dear ECD friends, The Washington Spring Ball is just around the corner on May 15th. We hope you plan to attend and will register . . . spaces are still available. Details are available on the web: Flyer, with list of dances: www.just.net/~roger/ball2004 Registration form (easy to print): www.just.net/~roger/ball2004/reg.html Directions (including some hints about restaurants): www.just.net/~roger/ball2004/directions.html Best regards, Roger Broseus, Registrar ================================================================================ Archive-Date: Mon, 26 Apr 2004 16:06:55 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: From: "Hollie Bunch" <%RNDLCCHAR514-AT-yahoo.com> Reply-To: ECD-AT-playford.slac.stanford.edu To: ecd-AT-ssrl04.slac.stanford.edu Subject: [SPAM:######] Fw: Fw: Lowest PR!CES on -- XEN!C-AT-L, ULTR-AT-M, FIOR!CET, C!-AT-L!S, V1AGR0 Date: Mon, 26 Apr 2004 18:07:52 -0600 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="--016097021894172" ----016097021894172 Content-Type: text/plain; Content-Transfer-Encoding: 7Bit The conqueror and king in each one of us is the knower of truth. Let the knower awaken in us and drive the horses of the mind, emotions, and physical body on the pathway which that king has chosen. medsnmeds.com The ruin of the human heart is self-interest, which the American merchant calls self-service. We have become a self-service populace, and all our specious comforts --the automatic elevator, the escalator, the cafeteria --are depriving us of volition and moral and physical energy. ----016097021894172-- ================================================================================ Archive-Date: Tue, 27 Apr 2004 08:05:53 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 (Apple Message framework v613) Content-Transfer-Encoding: quoted-printable Message-ID: Content-Type: text/plain; charset=ISO-8859-1; format=flowed To: ECD-AT-ssrl04.slac.stanford.edu From: =?ISO-8859-1?Q?Jonas_Liljestr=F6m?= Reply-To: ECD-AT-playford.slac.stanford.edu Subject: New member Date: Tue, 27 Apr 2004 17:08:57 +0200 Hello! Since I recently joined the list, I would like introduce myself. My name is Jonas Liljestr=F6m, and I am a Ph D student of musicology at=20= Gothenburg University, Sweden. My research concerns the vogue for=20 country dance, anglaises, gigues and other dances of British origin in=20= Scandinavia during the 17th, 18th and early 19th centuries, and the=20 influence that such dances (and their music) have had on Swedish folk=20 music and dance. I joined this list in hopes of gaining information=20 which might be useful to me in my research, and to contribute=20 information of my own as my work proceeds. I'm still in the early stages of my work, trying to get as=20 comprehensive a view of the subject matter as possible and looking for=20= relevant source material. Consequently, I'd be very grateful for any=20 advice concerning material which could be useful for me! Kind regards, Jonas= ================================================================================ Archive-Date: Tue, 27 Apr 2004 09:09:10 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Subject: Re: New member To: ECD-AT-ssrl04.slac.stanford.edu Message-ID: From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Date: Tue, 27 Apr 2004 12:08:44 -0400 MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Welcome Jonas! My name is Campbell Kaynor and I am probably best known as a New England (USA) contradance caller. My focus in Scandinavian music and dance has been the Vasterdala region from Appelbo, Vansbro, Dala Jarna.... but I am on this list because I also enjoy the dances and melodies brought to America by the first settlers from England. I have long been intrigued with the number of tunes and dances (especially from the west coastal regions of sweden) that were shared across the water but have never had the leisure to probe deeply. Perhaps you can enlighten us? Cheers, Cammy ================================================================================ Archive-Date: Tue, 27 Apr 2004 13:23:30 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Subject: NYC-area historical dance May 2004 Message-ID: From: Susan Reply-To: ECD-AT-playford.slac.stanford.edu Date: Tue, 27 Apr 2004 16:23:14 -0400 Greetings! For those interested in historical dance styles, a trio of workshops and events: Sunday, May 2: Two workshops in New York City 1:00-4:00pm Regency dancing (including figures of the First French Quadrille and the Royal Scotch Quadrille, sauteuse waltz, and country dances) $15 per person or $10 for first-timers. 4:30-6:30pm Early 20thc ballroom (including the glide waltz, two-step, assorted sequence dances, and figures from the National Two-Step Lancers) $12 per person. This is the final advance workshop for.... Saturday-Sunday, May 15-16, in Ridgewood, NJ The 1904 Centennial Dance Weekend, co-sponsored by my group (EAS) and the Metropolitan Dance and Social Club. Saturday afternoon workshops in early 20thc ballroom dance, Saturday night formal ball with live music by the fabulous Flying Romanos, and Sunday afternoon ice cream tea. Step back one hundred years in time with us! This is a lightly gender-balanced event, and is $55 for the entire weekend of dancing. All dances are reconstructed and taught by myself. Details of the various workshops and events are available on my group's webpage: http://www.elegantarts.org Upcoming classes for this summer are still in the planning process, but likely will include bits of: 1890's waltz variations 1910's hesitation waltz The "Valencia", a 1926 one-step choreography Six-person Italian Renaissance set dances from Caroso (1581) (the connections with later ECD are very obvious in these sets) as well as, of course, our ongoing Regency classes culminating in our Assembly on October 16. Email or see our webpage for details! Happy dancing! Susan ================================================================================ Archive-Date: Tue, 27 Apr 2004 19:22:19 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 27 Apr 2004 19:21:24 -0700 Subject: 225th of the Siege of Charles Town - Ball From: "Ed St.Germain" Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Before you hit your "Delete" button, note the mention of plans for a "perio= d ball in downtown Charleston" **************************** 225th Anniversary of the Siege of Charles Town May 14-15, 2005 Charleston, SC Sir Henry Clinton and more than eight thousand British, German and Loyalist troops set out from New York to change the seat of the war by invading the South in 1779. In late March of 1780, the British Army gathered at Drayton Hall and Magnolia plantations along the Ashley River. Soon afterwards, the Royal Navy carried them across the Ashley River in the largest joint Army-Navy operation of the Southern Campaign and took Charleston=92s Continental commander, General Benjamin Lincoln by surprise. By April 2, Clinton=92s army began its siege of Charleston, the fifth largest city in colonial America and on May 12, the Continental forces surrendered the city in what would be the worst Continental defeat of the war and the third largest surrender in American history. To commemorate the 225th anniversary of this important event, Drayton Hall Plantation (a National Trust for Historic Preservation site) is sponsoring = a living history event May 14-15, 2005 in cooperation with Magnolia and Middleton Place Plantations, the City of Charleston and the Charleston Museum. Drayton Hall, Magnolia Plantation, and Middleton Place represent al= l three major plantations along the Ashley River Road, giving the event thousands of contiguous acres with which to work.=A0The Charleston Museum is America's oldest museum and has several important Revolutionary War artifacts in its collection. Over the course of the upcoming year, the event sponsors look forward to create a 225th anniversary event that honors the memory of the combatants o= f the siege of Charleston while educating the residents and visitors of the Charleston area.=A0Plans are in the works to interpret the surrender ceremony at the location of the only remaining part of the Continental defenses, for living history programs at the historic plantations, and for special opportunities for the participants such as a period ball in downtown Charleston. We will welcome the participation of other organizations, large and small, should they wish to collaborate on this event and are eager to work with them to create an educational, interpretive, and enjoyable living history event to be remembered. Any further questions about the coordination of the living history organizations should be directed to either or both Michael and Todd.=A0Look for regular updates over the next year, and within weeks a dedicated event web page will be announced. Michael Grenier British Forces Coordinator 64th Regiment of Foot MajorLXIV-AT-aol.com Todd Post Continental Forces Coordinator 2d Virginia Regiment todd.post2-AT-verizon.net For more information: http://www.draytonhall.org/online_exhibits/revwar.htm http://www.middletonplace.org http://www.magnoliaplantation.com http://www.charlestonmuseum.org ================================================================================ Archive-Date: Tue, 27 Apr 2004 21:41:56 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu Message-ID: <20040428044135.47493.qmail-AT-web13605.mail.yahoo.com> Date: Tue, 27 Apr 2004 21:41:35 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT-playford.slac.stanford.edu Subject: NOMAD date To: ECD-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable It's official. NOMAD will take place November 6-7, still in New Haven, but this time across the town in the Wilbur Cross High School - about six blocks from where I live. This is a good move for us, as Wilbur Cross has about twice the space that the Career High School has. Cross was being renovated last year so it wasn't available to us then, but we are thrilled to be moving to it. Among other amenities it has TWO - count 'em, TWO - LARGE GYMS. This means we'll have the ability to put many more of our popular sessions in prime dance space. Why some of us are getting dizzy just at the thought. Those who have led sessions in the past should be receiving a performer application in the mail in the next week or two. If you haven't called at NOMAD before and want to get an app, email me off-list. Eventually they will be up on our website, as well. =20 =3D=3D=3D=3D=3D ''[The 101st Airborne Division] took hardship in stride =85. They were be= tter than the cause they served, which would soon be tarnished by revelat= ions that the casus belli -- that Iraq posed an imminent, existential dan= ger to America and its allies -- was inflated and perhaps fraudulent. If = the waar's predicate was phony, it cheapened the sacrifices of the dead a= nd living alike.'' IN THE COMPANY OF SOLDIERS=20 Rick Atkinson, War Correspondent for the Washington Post =09 =09 __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs =20 http://hotjobs.sweepstakes.yahoo.com/careermakeover=20 ================================================================================ Archive-Date: Thu, 29 Apr 2004 04:18:46 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 (Apple Message framework v613) References: Content-Type: multipart/alternative; boundary=Apple-Mail-1--296187532 Message-ID: <6951E2B4-99CF-11D8-9D6F-000A95C854A6-AT-musicology.gu.se> From: =?ISO-8859-1?Q?Jonas_Liljestr=F6m?= Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: New member Date: Thu, 29 Apr 2004 13:21:51 +0200 To: ECD-AT-ssrl04.slac.stanford.edu --Apple-Mail-1--296187532 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Hi Cammy et al.! In response to your request for information on the British music=20 tradition on the Swedish west coast, I'm sending along a few extracts=20 from my Ph D application, where I outline the subject and describe the=20= aspects that I'm particularly interested in. Any comments or questions=20= are more than welcome! Enjoy! Kind regards, Jonas "I intend to undertake research on the influence of British and Irish=20 music on Swedish folk music from the latter half of the 17th century=20 until the present day. Examples of possible angles from which to=20 approach this research would be to investigate the connections and=20 kinship between different types of tunes (for example =93engelskor=94 = and=20 British =93hornpipes=94, or the =93rill/rull/rell=94 in Sweden and = Norway and=20 the =93reel=94 in Scotland and Ireland), or how recent folk music bands=20= such as =93Atlantiska Orkestern=94 and =93Orust=94 are emphasizing the = kinship=20 between the different traditions. According to Magnus Gustavsson, a musicologist at =93Sm=E5lands = Musikarkiv=94=20 (=93The Music Archive of Sm=E5land County=94), it appears that the = influx of=20 music from the British Isles can be divided into three separate=20 periods. The first began during the second half of the 17th century,=20 when melodies of British origin began to appear in Nordic music books=20 in large numbers. The melodies often had clear parallels with=20 contemporary British collections, such as the highly popular =93The=20 English Dancing Master=94 (1651) by John Playford (1623-1686). One of = the=20 most popular dances of British origin in Sweden during this period was=20= the gigue, which exists today mainly in Scottish and Irish tradition,=20 under the name =93jig=94. The second period of diffusion pointed out by Gustavsson was during the=20= second half of the 18th century, when a number of stylized French=20 =93engelskdanser=94 (=3D=94dances in the English (i.e. British) style=94) = became=20 popular in Sweden. One of the most prominent dances is called=20 =93kontradans=94 (=93contradance=94). The name is derived from the = English term=20 =93Country Dance=94, and a significant feature of the dance is that it = is=20 performed by several dancers standing in parallel lines or in different=20= geometrical figures. It is still practised in Anglo-American=20 traditions, known as =93line dance=94 or =93square dance=94. Interest in = the=20 =93kontradans=94 originally spread to the Nordic countries from France, = but=20 of the melodies that have been written down only a few are of French=20 origin =96 the majority have clear parallels in the musical tradition of=20= the British Isles. The third period pointed out by Gustavsson was at the beginning of the=20= 19th century, when a large number of melodies appeared in Swedish=20 collections with parallels in the British reel tradition. The reel is=20 Scottish in origin, and during the second half of the 18th century it=20 began to spread to Ireland and other neighbouring areas. The presence=20 of melodies with a foundation in the reel tradition in Swedish music=20 books from the turn of the century, appears to indicate that this=20 repertoire also reached Sweden during that period or soon afterwards. The reason why reels, jigs and other British/Irish dances did not=20 achieve any dominant position in the Nordic countries was that they had=20= to compete with a strong and well-established =93polska=94 and = =93springar=94=20 tradition. Nevertheless, a remnant of the Anglo-Saxon repertoire=20 survived and has been kept alive to this day, for example in the form=20 of =93engelskor=94 in Sweden and =93rilar=94 in southern Norway. /.../ Fundamental questions at issue Below is a presentation of the questions which I currently find most=20 relevant, and which I intend to investigate in my research. 1. Is it possible to prove scientifically that =93English melodies=94=20= spread throughout Western Europe during three relatively clearly=20 demarcated periods? - the late 17th century - the late 18th century - the early 19th century What caused these periods of diffusion? Which melodies (types of=20 melodies) spread during the respective periods? What is the earliest=20 evidence of the occurrence of the different types of melodies in the=20 Nordic countries, and how have they expanded and developed? Some=20 examples follow: In older Nordic collections of dances and melodies there are clear=20 parallels with British collections from the same period, for example=20 John Playford=92s =93The English Dancing Master=94, and as early as the = 1670s=20 and =9280s the jig (=93gigue=94) started to become a common feature in=20= Swedish dance music. How did this music come to Sweden? Playford=92s=20 collection was very popular in its day, and a large number of copies=20 were printed; is it, for example, possible that some of them ended up=20 in Sweden? In that case, how did the music and dance become=20 incorporated into the domestic repertoire? Personally, I should imagine that one possible reason why music and=20 dances of British origin began to crop up in Sweden during this=20 particular period could be that it was during this time that the=20 republican regime of Oliver Cromwell (1599-1658) fell. The republicans=20= had assumed power by revolution and by deposing King Charles I =96 an=20 action which provoked extremely negative reactions in other parts of=20 Europe. In his book =93Svenskt och brittiskt=94 (=93Swedish and = British=94),=20 Birger Steckz=E9n relates how a large number of Swedes travelled to=20 England after the restoration of the monarchy in 1660, for instance to=20= study at English universities. In Sweden, these contacts resulted in a=20= growing interest in English culture. Could this have been a=20 contributory factor to the influx of British melodies and dances in=20 this period? Then we have the problem of the many stylized French dances of English=20= origin =96 for example the contradances =96 which become popular in = Sweden=20 during the 18th century. They are a common feature in Swedish fiddlers=92=20= books during the 1770s and later, but it is very seldom a matter of=20 tunes which are French in origin. On the contrary, they usually have=20 direct parallels in the reel and hornpipe traditions of the British=20 Isles. This begs the question of how large a part of the Nordic=20 =93engelska=94 repertoire was indeed passed on via France in the form of=20= contradances and anglaises? According to Magnus Gustavsson, there is plenty of circumstantial=20 evidence that suggests that the =93reel=94, after having broken out of = its=20 area of origin in Scotland, reached Scandinavia =96 and was incorporated=20= into the dance repertoire here =96 virtually as early as it reached=20 Ireland. Can this hypothesis be verified? 2. How has the =93engelska=94 repertoire in Sweden developed and=20= changed since the 19th century? The Gothenburg fiddler G=F6ran Premberg=20= has, for example, pointed out an alteration in the playing of=20 =93engelska=94 tunes in Bohusl=E4n county during the 20th century. He = has=20 drawn attention to the occurrence of two older bowing techniques which=20= gradually disappeared during this period and which, he claims, have=20 great similarities to two northern English bowing styles called =93the=20= Newcastle Style=94 and =93the Sand Dance Style=94. They were common = around=20 the turn of the 19th century, and were passed on by occasional carriers=20= of tradition such as the Bohusl=E4n fiddlers Ernst Abrahamsson and David=20= Andersson. What constituted these techniques, when did they disappear=20 and for what reason? How has this tradition been used in our time, for example by bands such=20= as =93Atlantiska Orkestern=94 and =93Orust=94? In what way was the = playing and=20 reception of Swedish folk music of British/Irish origin changed by the=20= National Romantic movement of the 19th century, when in certain circles=20= folk music became regarded as an expression of the =93national=20 character=94? Did music of obviously foreign origin become marginalized,=20= or could it still be played and documented on equal terms with other=20 types of melodies? If it should turn out that the four years I have at my disposal are=20 insufficient to enable me to complete my research, it would probably be=20= necessary for me to concentrate solely on the first point, and deal=20 with the other issues as a separate project after I have completed my=20 PhD. However, I intend to leave the question of priorities and=20 limitations open until I start my research. Another important aspect of the subject which must not be forgotten, is=20= the role of dance in this context. The music I intend to deal with in=20 my research is, after all, intended to be danced to. I have discussed=20 this with Mats Nilsson in the Department of Ethnology at Gothenburg=20 University, and he has, among other things, pointed out the differences=20= between the =93engelska=94 as music, the =93engelska=94 as dance and the=20= =93engelska=94 as a term. The fact is that a type of music, a type of = dance=20 and a type of term do not necessarily appear at the same time in=20 history. The fact that a type of music appears in Swedish collections at a=20 certain time does not necessarily mean that the type of dance which=20 belongs to the music had yet been introduced. The music and the dance=20 could have travelled along different paths. Nor is it certain that a=20 particular type of dance has always been danced in the same manner.=20 What we, for instance, call the =93jig=94 today is not necessarily the = same=20 type of dance as it was in the 17th century. In order to gain a general=20= view of possible parallels between dance forms in the Nordic countries=20= and the British Isles, one would have to look at contemporary=20 descriptions of the dances in question. /.../ Where the research stands As far as I have been able to discern, there is no research that deals=20= specifically with British/Irish influences on Swedish folk music =96 on=20= the whole, there is in fact very little research about the =93engelska=94=20= as a type of music. On the other hand, there is research concerning=20 different aspects of the subject matter, which, in combination, may=20 provide a general picture. Documents and recordings of contradances,=20 =93engelskor=94 etc. from the 17th century onwards may constitute=20 interesting comparative material, which will make it possible to=20 delineate the spread of different melodies and as far as possible=20 ascertain their earliest appearance in the Nordic countries. It will=20 also be possible to determine how the playing of melodies has changed=20 over time. (1) Examples of such material are Johan Jacob Anckarstr=F6m=92s= =20 book of dances from the 1760s, Carl-Gustaf Tullberg=92s book of fiddle=20= tunes from 1822 (which, for instance, contains clearly identifiable=20 versions of the melodies =93The Irish Washerwoman=94 and =93Lord = MacDonald=92s=20 Reel=94), and Jacob Mestmacher=92s music book from the mid-18th century.=20= More recent documents which might prove useful include, for example,=20 the field recordings of folk music from Bohusl=E4n county made by the=20 musicologist and folk music expert M=E4rta Ramsten in the 1960s, and=20 =93Gamla danser i Sk=E5ne: engelskor=94 (=93Old Dances in = Scania:engelskor=94) by=20 B=F6rje Wallin, which contains documentation of dances and melodies=20 covering a period from the 1830s to the 1940s. Svenskt visarkiv (=93The=20= Centre for Swedish Folk Music and Jazz Research=94), the music archives=20= of Sm=E5land county and similar archives elsewhere in the Nordic=20 countries (and in the British Isles) are likely to contain plenty of=20 useful information. /.../" 2004-04-27 kl. 18.08 skrev Campbell Kaynor: > > > > > Welcome Jonas! > > My name is Campbell Kaynor and I am probably best known as a New=20 > England > (USA) contradance caller. My focus in Scandinavian music and dance has=20= > been > the Vasterdala region from Appelbo, Vansbro, Dala Jarna.... but I am = on > this list because I also enjoy the dances and melodies brought to=20 > America > by the first settlers from England. I have long been intrigued with = the > number of tunes and dances (especially from the west coastal regions = of > sweden) that were shared across the water but have never had the=20 > leisure to > probe deeply. Perhaps you can enlighten us? > > Cheers, Cammy > > When a stupid man is doing something he is ashamed of, he always=20 declares that it is his duty. --George Bernard Shaw --Apple-Mail-1--296187532 Content-Transfer-Encoding: quoted-printable Content-Type: text/enriched; charset=WINDOWS-1252 Hi Cammy et al.! In response to your request for information on the British music tradition on the Swedish west coast, I'm sending along a few extracts from my Ph D application, where I outline the subject and describe the aspects that I'm particularly interested in. Any comments or questions are more than welcome! Enjoy! Kind regards, Jonas "I intend to undertake research on the influence of British and Irish music on Swedish folk music from the latter half of the 17th century until the present day. Examples of possible angles from which to approach this research would be to investigate the connections and kinship between different types of tunes (for example =93engelskor=94 = and British =93hornpipes=94, or the =93rill/rull/rell=94 in Sweden and = Norway and the =93reel=94 in Scotland and Ireland), or how recent folk music bands such as =93Atlantiska Orkestern=94 and =93Orust=94 are emphasizing the = kinship between the different traditions. According to Magnus Gustavsson, a musicologist at =93Sm=E5lands Musikarkiv=94 (=93The Music Archive of Sm=E5land County=94), it appears = that the influx of music from the British Isles can be divided into three separate periods. The first began during the second half of the 17th century, when melodies of British origin began to appear in Nordic music books in large numbers. The melodies often had clear parallels with contemporary British collections, such as the highly popular =93The English Dancing Master=94 (1651) by John Playford (1623-1686). One of the most popular dances of British origin in Sweden during this period was the gigue, which exists today mainly in Scottish and Irish tradition, under the name =93jig=94. The second period of diffusion pointed out by Gustavsson was during the second half of the 18th century, when a number of stylized French =93engelskdanser=94 (=3D=94dances in the English (i.e. British) style=94) = became popular in Sweden. One of the most prominent dances is called =93kontradans=94 (=93contradance=94). The name is derived from the = English term =93Country Dance=94, and a significant feature of the dance is that it is performed by several dancers standing in parallel lines or in different geometrical figures. It is still practised in Anglo-American traditions, known as =93line dance=94 or =93square dance=94. Interest in = the =93kontradans=94 originally spread to the Nordic countries from France, but of the melodies that have been written down only a few are of French origin =96 the majority have clear parallels in the musical tradition of the British Isles. The third period pointed out by Gustavsson was at the beginning of the 19th century, when a large number of melodies appeared in Swedish collections with parallels in the British reel tradition. The reel is Scottish in origin, and during the second half of the 18th century it began to spread to Ireland and other neighbouring areas. The presence of melodies with a foundation in the reel tradition in Swedish music books from the turn of the century, appears to indicate that this repertoire also reached Sweden during that period or soon afterwards. The reason why reels, jigs and other British/Irish dances did not achieve any dominant position in the Nordic countries was that they had to compete with a strong and well-established =93polska=94 and =93springar=94 tradition. Nevertheless, a remnant of the Anglo-Saxon repertoire survived and has been kept alive to this day, for example in the form of =93engelskor=94 in Sweden and =93rilar=94 in southern = Norway. /.../ Fundamental questions at issue Below is a presentation of the questions which I currently find most relevant, and which I intend to investigate in my research. 1. Is it possible to prove scientifically that =93English melodies=94 spread throughout Western Europe during three relatively clearly demarcated periods? - the late 17th century - the late 18th century - the early 19th century What caused these periods of diffusion? Which melodies (types of melodies) spread during the respective periods? What is the earliest evidence of the occurrence of the different types of melodies in the Nordic countries, and how have they expanded and developed? Some examples follow: In older Nordic collections of dances and melodies there are clear parallels with British collections from the same period, for example John Playford=92s =93The English Dancing Master=94, and as early as the 1670s and =9280s the jig (=93gigue=94) started to become a common = feature in Swedish dance music. How did this music come to Sweden? Playford=92s collection was very popular in its day, and a large number of copies were printed; is it, for example, possible that some of them ended up in Sweden? In that case, how did the music and dance become incorporated into the domestic repertoire? Personally, I should imagine that one possible reason why music and dances of British origin began to crop up in Sweden during this particular period could be that it was during this time that the republican regime of Oliver Cromwell (1599-1658) fell. The republicans had assumed power by revolution and by deposing King Charles I =96 an action which provoked extremely negative reactions in other parts of Europe. In his book =93Svenskt och brittiskt=94 (=93Swedish and = British=94), Birger Steckz=E9n relates how a large number of Swedes travelled to England after the restoration of the monarchy in 1660, for instance to study at English universities. In Sweden, these contacts resulted in a growing interest in English culture. Could this have been a contributory factor to the influx of British melodies and dances in this period? Then we have the problem of the many stylized French dances of English origin =96 for example the contradances =96 which become popular in = Sweden during the 18th century. They are a common feature in Swedish fiddlers=92 books during the 1770s and later, but it is very seldom a matter of tunes which are French in origin. On the contrary, they usually have direct parallels in the reel and hornpipe traditions of the British Isles. This begs the question of how large a part of the Nordic =93engelska=94 repertoire was indeed passed on via France in the form of contradances and anglaises? According to Magnus Gustavsson, there is plenty of circumstantial evidence that suggests that the =93reel=94, after having broken out of = its area of origin in Scotland, reached Scandinavia =96 and was incorporated into the dance repertoire here =96 virtually as early as it reached Ireland. Can this hypothesis be verified? 2. How has the =93engelska=94 repertoire in Sweden developed and changed since the 19th century? The Gothenburg fiddler G=F6ran Premberg has, for example, pointed out an alteration in the playing of =93engelska=94 tunes in Bohusl=E4n county during the 20th century. He = has drawn attention to the occurrence of two older bowing techniques which gradually disappeared during this period and which, he claims, have great similarities to two northern English bowing styles called =93the Newcastle Style=94 and =93the Sand Dance Style=94. They were common = around the turn of the 19th century, and were passed on by occasional carriers of tradition such as the Bohusl=E4n fiddlers Ernst Abrahamsson and David Andersson. What constituted these techniques, when did they disappear and for what reason? How has this tradition been used in our time, for example by bands such as =93Atlantiska Orkestern=94 and =93Orust=94? In what way was the playing and reception of Swedish folk music of British/Irish origin changed by the National Romantic movement of the 19th century, when in certain circles folk music became regarded as an expression of the =93national character=94? Did music of obviously foreign origin become marginalized, or could it still be played and documented on equal terms with other types of melodies? If it should turn out that the four years I have at my disposal are insufficient to enable me to complete my research, it would probably be necessary for me to concentrate solely on the first point, and deal with the other issues as a separate project after I have completed my PhD. However, I intend to leave the question of priorities and limitations open until I start my research. Another important aspect of the subject which must not be forgotten, is the role of dance in this context. The music I intend to deal with in my research is, after all, intended to be danced to. I have discussed this with Mats Nilsson in the Department of Ethnology at Gothenburg University, and he has, among other things, pointed out the differences between the =93engelska=94 as music, the =93engelska=94 as = dance and the =93engelska=94 as a term. The fact is that a type of music, a = type of dance and a type of term do not necessarily appear at the same time in history. The fact that a type of music appears in Swedish collections at a certain time does not necessarily mean that the type of dance which belongs to the music had yet been introduced. The music and the dance could have travelled along different paths. Nor is it certain that a particular type of dance has always been danced in the same manner. What we, for instance, call the =93jig=94 today is not necessarily the same type of dance as it was in the 17th century. In order to gain a general view of possible parallels between dance forms in the Nordic countries and the British Isles, one would have to look at contemporary descriptions of the dances in question. /.../ Where the research stands As far as I have been able to discern, there is no research that deals specifically with British/Irish influences on Swedish folk music =96 on the whole, there is in fact very little research about the =93engelska=94 as a type of music. On the other hand, there is research concerning different aspects of the subject matter, which, in combination, may provide a general picture. Documents and recordings of contradances, =93engelskor=94 etc. from the 17th century onwards may constitute interesting comparative material, which will make it possible to delineate the spread of different melodies and as far as possible ascertain their earliest appearance in the Nordic countries. It will also be possible to determine how the playing of melodies has changed over time. (1) Examples of such material are Johan Jacob Anckarstr=F6m=92s= book of dances from the 1760s, Carl-Gustaf Tullberg=92s book of fiddle tunes from 1822 (which, for instance, contains clearly identifiable versions of the melodies =93The Irish Washerwoman=94 and =93Lord = MacDonald=92s Reel=94), and Jacob Mestmacher=92s music book from the mid-18th century. More recent documents which might prove useful include, for example, the field recordings of folk music from Bohusl=E4n county made by the musicologist and folk music expert M=E4rta Ramsten in the 1960s, and =93Gamla danser i Sk=E5ne: engelskor=94 (=93Old Dances in = Scania:engelskor=94) by B=F6rje Wallin, which contains documentation of dances and melodies covering a period from the 1830s to the 1940s. Svenskt visarkiv (=93The Centre for Swedish Folk Music and Jazz Research=94), the music archives of Sm=E5land county and similar archives elsewhere in the Nordic countries (and in the British Isles) are likely to contain plenty of useful information. /.../"Times 2004-04-27 kl. 18.08 skrev Campbell Kaynor: Welcome Jonas! My name is Campbell Kaynor and I am probably best known as a New England (USA) contradance caller. My focus in Scandinavian music and dance has been the Vasterdala region from Appelbo, Vansbro, Dala Jarna.... but I am on this list because I also enjoy the dances and melodies brought to America by the first settlers from England. I have long been intrigued with the number of tunes and dances (especially from the west coastal regions of sweden) that were shared across the water but have never had the leisure to probe deeply. Perhaps you can enlighten us? Cheers, Cammy When a stupid man is doing something he is ashamed of, he always declares that it is his duty.=20 --George Bernard Shaw --Apple-Mail-1--296187532-- ================================================================================ Archive-Date: Thu, 29 Apr 2004 05:31:18 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Date: Thu, 29 Apr 2004 12:30:09 GMT To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: line dance MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="--__JWM__J41c6.167eS.2781M" From: allisonthompson-AT-juno.com Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <20040429.053019.17270.28515-AT-webmail26.nyc.untd.com> ----__JWM__J41c6.167eS.2781M Content-Type: text/plain; charset = us-ascii Content-Disposition: inline Jonas, Interesting thesis! One little thing: the paragraph where you say that country dances are still practiced in Anglo-American traditions in the form of "line dances and square dances"....in America "line dances" are something done to popular country-western music. Dancers stand in lines, all facing the band and without partners, and perform complicated footwork patterns to tunes like The Boot Scoot Shuffle (help me out here, everybody, I'm a little weak on this stuff--who's that guy with the mullet who had the big hit a few years ago?). Anyway, it is a whole different thing from western club squares, New England squares, contras and English country dances, the last two of which are danced "in lines" but are not "line dances." Allison Thompson Please note: message attached ----__JWM__J41c6.167eS.2781M Content-Type: message/rfc822 Return-Path: Received: from mx01.lax.untd.com (mx01.lax.untd.com [10.130.24.61]) by maildeliver11.nyc.untd.com with SMTP id AABAKB3PFAB7AZK2 for (sender ); Thu, 29 Apr 2004 04:23:17 -0700 (PDT) Received: from nospam4.slac.stanford.edu (nospam4.slac.stanford.edu [134.79.18.84]) by mx01.lax.untd.com with SMTP id AABAKB3PEAUHZBR2 (sender ); Thu, 29 Apr 2004 04:23:16 -0700 (PDT) Received: from ssrl04.slac.stanford.edu (ssrl04.slac.stanford.edu [134.79.33.14]) by nospam4.slac.stanford.edu (8.12.10/8.12.10) with SMTP id i3TBIdaZ004153; Thu, 29 Apr 2004 04:18:40 -0700 (PDT) (envelope-from owner-ecd-AT-ssrl04.slac.stanford.edu) X-ListName: Discussion of modern and historical English Country Dance Warnings-To: <> Errors-To: owner-ecd-AT-ssrl04.slac.stanford.edu Sender: owner-ecd-AT-ssrl04.slac.stanford.edu MIME-Version: 1.0 (Apple Message framework v613) References: Content-Type: multipart/alternative; boundary=Apple-Mail-1--296187532 Message-ID: <6951E2B4-99CF-11D8-9D6F-000A95C854A6-AT-musicology.gu.se> From: Jonas Liljeström Reply-To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: New member Date: Thu, 29 Apr 2004 13:21:51 +0200 To: ECD-AT-ssrl04.slac.stanford.edu X-ContentStamp: 12:6:821083258 --Apple-Mail-1--296187532 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Hi Cammy et al.! In response to your request for information on the British music=20 tradition on the Swedish west coast, I'm sending along a few extracts=20 from my Ph D application, where I outline the subject and describe the=20= aspects that I'm particularly interested in. Any comments or questions=20= are more than welcome! Enjoy! Kind regards, Jonas "I intend to undertake research on the influence of British and Irish=20 music on Swedish folk music from the latter half of the 17th century=20 until the present day. Examples of possible angles from which to=20 approach this research would be to investigate the connections and=20 kinship between different types of tunes (for example =93engelskor=94 = and=20 British =93hornpipes=94, or the =93rill/rull/rell=94 in Sweden and = Norway and=20 the =93reel=94 in Scotland and Ireland), or how recent folk music bands=20= such as =93Atlantiska Orkestern=94 and =93Orust=94 are emphasizing the = kinship=20 between the different traditions. According to Magnus Gustavsson, a musicologist at =93Sm=E5lands = Musikarkiv=94=20 (=93The Music Archive of Sm=E5land County=94), it appears that the = influx of=20 music from the British Isles can be divided into three separate=20 periods. The first began during the second half of the 17th century,=20 when melodies of British origin began to appear in Nordic music books=20 in large numbers. The melodies often had clear parallels with=20 contemporary British collections, such as the highly popular =93The=20 English Dancing Master=94 (1651) by John Playford (1623-1686). One of = the=20 most popular dances of British origin in Sweden during this period was=20= the gigue, which exists today mainly in Scottish and Irish tradition,=20 under the name =93jig=94. The second period of diffusion pointed out by Gustavsson was during the=20= second half of the 18th century, when a number of stylized French=20 =93engelskdanser=94 (=3D=94dances in the English (i.e. British) style=94) = became=20 popular in Sweden. One of the most prominent dances is called=20 =93kontradans=94 (=93contradance=94). The name is derived from the = English term=20 =93Country Dance=94, and a significant feature of the dance is that it = is=20 performed by several dancers standing in parallel lines or in different=20= geometrical figures. It is still practised in Anglo-American=20 traditions, known as =93line dance=94 or =93square dance=94. Interest in = the=20 =93kontradans=94 originally spread to the Nordic countries from France, = but=20 of the melodies that have been written down only a few are of French=20 origin =96 the majority have clear parallels in the musical tradition of=20= the British Isles. The third period pointed out by Gustavsson was at the beginning of the=20= 19th century, when a large number of melodies appeared in Swedish=20 collections with parallels in the British reel tradition. The reel is=20 Scottish in origin, and during the second half of the 18th century it=20 began to spread to Ireland and other neighbouring areas. The presence=20 of melodies with a foundation in the reel tradition in Swedish music=20 books from the turn of the century, appears to indicate that this=20 repertoire also reached Sweden during that period or soon afterwards. The reason why reels, jigs and other British/Irish dances did not=20 achieve any dominant position in the Nordic countries was that they had=20= to compete with a strong and well-established =93polska=94 and = =93springar=94=20 tradition. Nevertheless, a remnant of the Anglo-Saxon repertoire=20 survived and has been kept alive to this day, for example in the form=20 of =93engelskor=94 in Sweden and =93rilar=94 in southern Norway. /.../ Fundamental questions at issue Below is a presentation of the questions which I currently find most=20 relevant, and which I intend to investigate in my research. 1. Is it possible to prove scientifically that =93English melodies=94=20= spread throughout Western Europe during three relatively clearly=20 demarcated periods? - the late 17th century - the late 18th century - the early 19th century What caused these periods of diffusion? Which melodies (types of=20 melodies) spread during the respective periods? What is the earliest=20 evidence of the occurrence of the different types of melodies in the=20 Nordic countries, and how have they expanded and developed? Some=20 examples follow: In older Nordic collections of dances and melodies there are clear=20 parallels with British collections from the same period, for example=20 John Playford=92s =93The English Dancing Master=94, and as early as the = 1670s=20 and =9280s the jig (=93gigue=94) started to become a common feature in=20= Swedish dance music. How did this music come to Sweden? Playford=92s=20 collection was very popular in its day, and a large number of copies=20 were printed; is it, for example, possible that some of them ended up=20 in Sweden? In that case, how did the music and dance become=20 incorporated into the domestic repertoire? Personally, I should imagine that one possible reason why music and=20 dances of British origin began to crop up in Sweden during this=20 particular period could be that it was during this time that the=20 republican regime of Oliver Cromwell (1599-1658) fell. The republicans=20= had assumed power by revolution and by deposing King Charles I =96 an=20 action which provoked extremely negative reactions in other parts of=20 Europe. In his book =93Svenskt och brittiskt=94 (=93Swedish and = British=94),=20 Birger Steckz=E9n relates how a large number of Swedes travelled to=20 England after the restoration of the monarchy in 1660, for instance to=20= study at English universities. In Sweden, these contacts resulted in a=20= growing interest in English culture. Could this have been a=20 contributory factor to the influx of British melodies and dances in=20 this period? Then we have the problem of the many stylized French dances of English=20= origin =96 for example the contradances =96 which become popular in = Sweden=20 during the 18th century. They are a common feature in Swedish fiddlers=92=20= books during the 1770s and later, but it is very seldom a matter of=20 tunes which are French in origin. On the contrary, they usually have=20 direct parallels in the reel and hornpipe traditions of the British=20 Isles. This begs the question of how large a part of the Nordic=20 =93engelska=94 repertoire was indeed passed on via France in the form of=20= contradances and anglaises? According to Magnus Gustavsson, there is plenty of circumstantial=20 evidence that suggests that the =93reel=94, after having broken out of = its=20 area of origin in Scotland, reached Scandinavia =96 and was incorporated=20= into the dance repertoire here =96 virtually as early as it reached=20 Ireland. Can this hypothesis be verified? 2. How has the =93engelska=94 repertoire in Sweden developed and=20= changed since the 19th century? The Gothenburg fiddler G=F6ran Premberg=20= has, for example, pointed out an alteration in the playing of=20 =93engelska=94 tunes in Bohusl=E4n county during the 20th century. He = has=20 drawn attention to the occurrence of two older bowing techniques which=20= gradually disappeared during this period and which, he claims, have=20 great similarities to two northern English bowing styles called =93the=20= Newcastle Style=94 and =93the Sand Dance Style=94. They were common = around=20 the turn of the 19th century, and were passed on by occasional carriers=20= of tradition such as the Bohusl=E4n fiddlers Ernst Abrahamsson and David=20= Andersson. What constituted these techniques, when did they disappear=20 and for what reason? How has this tradition been used in our time, for example by bands such=20= as =93Atlantiska Orkestern=94 and =93Orust=94? In what way was the = playing and=20 reception of Swedish folk music of British/Irish origin changed by the=20= National Romantic movement of the 19th century, when in certain circles=20= folk music became regarded as an expression of the =93national=20 character=94? Did music of obviously foreign origin become marginalized,=20= or could it still be played and documented on equal terms with other=20 types of melodies? If it should turn out that the four years I have at my disposal are=20 insufficient to enable me to complete my research, it would probably be=20= necessary for me to concentrate solely on the first point, and deal=20 with the other issues as a separate project after I have completed my=20 PhD. However, I intend to leave the question of priorities and=20 limitations open until I start my research. Another important aspect of the subject which must not be forgotten, is=20= the role of dance in this context. The music I intend to deal with in=20 my research is, after all, intended to be danced to. I have discussed=20 this with Mats Nilsson in the Department of Ethnology at Gothenburg=20 University, and he has, among other things, pointed out the differences=20= between the =93engelska=94 as music, the =93engelska=94 as dance and the=20= =93engelska=94 as a term. The fact is that a type of music, a type of = dance=20 and a type of term do not necessarily appear at the same time in=20 history. The fact that a type of music appears in Swedish collections at a=20 certain time does not necessarily mean that the type of dance which=20 belongs to the music had yet been introduced. The music and the dance=20 could have travelled along different paths. Nor is it certain that a=20 particular type of dance has always been danced in the same manner.=20 What we, for instance, call the =93jig=94 today is not necessarily the = same=20 type of dance as it was in the 17th century. In order to gain a general=20= view of possible parallels between dance forms in the Nordic countries=20= and the British Isles, one would have to look at contemporary=20 descriptions of the dances in question. /.../ Where the research stands As far as I have been able to discern, there is no research that deals=20= specifically with British/Irish influences on Swedish folk music =96 on=20= the whole, there is in fact very little research about the =93engelska=94=20= as a type of music. On the other hand, there is research concerning=20 different aspects of the subject matter, which, in combination, may=20 provide a general picture. Documents and recordings of contradances,=20 =93engelskor=94 etc. from the 17th century onwards may constitute=20 interesting comparative material, which will make it possible to=20 delineate the spread of different melodies and as far as possible=20 ascertain their earliest appearance in the Nordic countries. It will=20 also be possible to determine how the playing of melodies has changed=20 over time. (1) Examples of such material are Johan Jacob Anckarstr=F6m=92s= =20 book of dances from the 1760s, Carl-Gustaf Tullberg=92s book of fiddle=20= tunes from 1822 (which, for instance, contains clearly identifiable=20 versions of the melodies =93The Irish Washerwoman=94 and =93Lord = MacDonald=92s=20 Reel=94), and Jacob Mestmacher=92s music book from the mid-18th century.=20= More recent documents which might prove useful include, for example,=20 the field recordings of folk music from Bohusl=E4n county made by the=20 musicologist and folk music expert M=E4rta Ramsten in the 1960s, and=20 =93Gamla danser i Sk=E5ne: engelskor=94 (=93Old Dances in = Scania:engelskor=94) by=20 B=F6rje Wallin, which contains documentation of dances and melodies=20 covering a period from the 1830s to the 1940s. Svenskt visarkiv (=93The=20= Centre for Swedish Folk Music and Jazz Research=94), the music archives=20= of Sm=E5land county and similar archives elsewhere in the Nordic=20 countries (and in the British Isles) are likely to contain plenty of=20 useful information. /.../" 2004-04-27 kl. 18.08 skrev Campbell Kaynor: > > > > > Welcome Jonas! > > My name is Campbell Kaynor and I am probably best known as a New=20 > England > (USA) contradance caller. My focus in Scandinavian music and dance has=20= > been > the Vasterdala region from Appelbo, Vansbro, Dala Jarna.... but I am = on > this list because I also enjoy the dances and melodies brought to=20 > America > by the first settlers from England. I have long been intrigued with = the > number of tunes and dances (especially from the west coastal regions = of > sweden) that were shared across the water but have never had the=20 > leisure to > probe deeply. Perhaps you can enlighten us? > > Cheers, Cammy > > When a stupid man is doing something he is ashamed of, he always=20 declares that it is his duty. --George Bernard Shaw --Apple-Mail-1--296187532 Content-Type: text/enriched; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Hi Cammy et al.! In response to your request for information on the British music tradition on the Swedish west coast, I'm sending along a few extracts from my Ph D application, where I outline the subject and describe the aspects that I'm particularly interested in. Any comments or questions are more than welcome! Enjoy! Kind regards, Jonas "I intend to undertake research on the influence of British and Irish music on Swedish folk music from the latter half of the 17th century until the present day. Examples of possible angles from which to approach this research would be to investigate the connections and kinship between different types of tunes (for example =93engelskor=94 = and British =93hornpipes=94, or the =93rill/rull/rell=94 in Sweden and = Norway and the =93reel=94 in Scotland and Ireland), or how recent folk music bands such as =93Atlantiska Orkestern=94 and =93Orust=94 are emphasizing the = kinship between the different traditions. According to Magnus Gustavsson, a musicologist at =93Sm=E5lands Musikarkiv=94 (=93The Music Archive of Sm=E5land County=94), it appears = that the influx of music from the British Isles can be divided into three separate periods. The first began during the second half of the 17th century, when melodies of British origin began to appear in Nordic music books in large numbers. The melodies often had clear parallels with contemporary British collections, such as the highly popular =93The English Dancing Master=94 (1651) by John Playford (1623-1686). One of the most popular dances of British origin in Sweden during this period was the gigue, which exists today mainly in Scottish and Irish tradition, under the name =93jig=94. The second period of diffusion pointed out by Gustavsson was during the second half of the 18th century, when a number of stylized French =93engelskdanser=94 (=3D=94dances in the English (i.e. British) style=94) = became popular in Sweden. One of the most prominent dances is called =93kontradans=94 (=93contradance=94). The name is derived from the = English term =93Country Dance=94, and a significant feature of the dance is that it is performed by several dancers standing in parallel lines or in different geometrical figures. It is still practised in Anglo-American traditions, known as =93line dance=94 or =93square dance=94. Interest in = the =93kontradans=94 originally spread to the Nordic countries from France, but of the melodies that have been written down only a few are of French origin =96 the majority have clear parallels in the musical tradition of the British Isles. The third period pointed out by Gustavsson was at the beginning of the 19th century, when a large number of melodies appeared in Swedish collections with parallels in the British reel tradition. The reel is Scottish in origin, and during the second half of the 18th century it began to spread to Ireland and other neighbouring areas. The presence of melodies with a foundation in the reel tradition in Swedish music books from the turn of the century, appears to indicate that this repertoire also reached Sweden during that period or soon afterwards. The reason why reels, jigs and other British/Irish dances did not achieve any dominant position in the Nordic countries was that they had to compete with a strong and well-established =93polska=94 and =93springar=94 tradition. Nevertheless, a remnant of the Anglo-Saxon repertoire survived and has been kept alive to this day, for example in the form of =93engelskor=94 in Sweden and =93rilar=94 in southern = Norway. /.../ Fundamental questions at issue Below is a presentation of the questions which I currently find most relevant, and which I intend to investigate in my research. 1. Is it possible to prove scientifically that =93English melodies=94 spread throughout Western Europe during three relatively clearly demarcated periods? - the late 17th century - the late 18th century - the early 19th century What caused these periods of diffusion? Which melodies (types of melodies) spread during the respective periods? What is the earliest evidence of the occurrence of the different types of melodies in the Nordic countries, and how have they expanded and developed? Some examples follow: In older Nordic collections of dances and melodies there are clear parallels with British collections from the same period, for example John Playford=92s =93The English Dancing Master=94, and as early as the 1670s and =9280s the jig (=93gigue=94) started to become a common = feature in Swedish dance music. How did this music come to Sweden? Playford=92s collection was very popular in its day, and a large number of copies were printed; is it, for example, possible that some of them ended up in Sweden? In that case, how did the music and dance become incorporated into the domestic repertoire? Personally, I should imagine that one possible reason why music and dances of British origin began to crop up in Sweden during this particular period could be that it was during this time that the republican regime of Oliver Cromwell (1599-1658) fell. The republicans had assumed power by revolution and by deposing King Charles I =96 an action which provoked extremely negative reactions in other parts of Europe. In his book =93Svenskt och brittiskt=94 (=93Swedish and = British=94), Birger Steckz=E9n relates how a large number of Swedes travelled to England after the restoration of the monarchy in 1660, for instance to study at English universities. In Sweden, these contacts resulted in a growing interest in English culture. Could this have been a contributory factor to the influx of British melodies and dances in this period? Then we have the problem of the many stylized French dances of English origin =96 for example the contradances =96 which become popular in = Sweden during the 18th century. They are a common feature in Swedish fiddlers=92 books during the 1770s and later, but it is very seldom a matter of tunes which are French in origin. On the contrary, they usually have direct parallels in the reel and hornpipe traditions of the British Isles. This begs the question of how large a part of the Nordic =93engelska=94 repertoire was indeed passed on via France in the form of contradances and anglaises? According to Magnus Gustavsson, there is plenty of circumstantial evidence that suggests that the =93reel=94, after having broken out of = its area of origin in Scotland, reached Scandinavia =96 and was incorporated into the dance repertoire here =96 virtually as early as it reached Ireland. Can this hypothesis be verified? 2. How has the =93engelska=94 repertoire in Sweden developed and changed since the 19th century? The Gothenburg fiddler G=F6ran Premberg has, for example, pointed out an alteration in the playing of =93engelska=94 tunes in Bohusl=E4n county during the 20th century. He = has drawn attention to the occurrence of two older bowing techniques which gradually disappeared during this period and which, he claims, have great similarities to two northern English bowing styles called =93the Newcastle Style=94 and =93the Sand Dance Style=94. They were common = around the turn of the 19th century, and were passed on by occasional carriers of tradition such as the Bohusl=E4n fiddlers Ernst Abrahamsson and David Andersson. What constituted these techniques, when did they disappear and for what reason? How has this tradition been used in our time, for example by bands such as =93Atlantiska Orkestern=94 and =93Orust=94? In what way was the playing and reception of Swedish folk music of British/Irish origin changed by the National Romantic movement of the 19th century, when in certain circles folk music became regarded as an expression of the =93national character=94? Did music of obviously foreign origin become marginalized, or could it still be played and documented on equal terms with other types of melodies? If it should turn out that the four years I have at my disposal are insufficient to enable me to complete my research, it would probably be necessary for me to concentrate solely on the first point, and deal with the other issues as a separate project after I have completed my PhD. However, I intend to leave the question of priorities and limitations open until I start my research. Another important aspect of the subject which must not be forgotten, is the role of dance in this context. The music I intend to deal with in my research is, after all, intended to be danced to. I have discussed this with Mats Nilsson in the Department of Ethnology at Gothenburg University, and he has, among other things, pointed out the differences between the =93engelska=94 as music, the =93engelska=94 as = dance and the =93engelska=94 as a term. The fact is that a type of music, a = type of dance and a type of term do not necessarily appear at the same time in history. The fact that a type of music appears in Swedish collections at a certain time does not necessarily mean that the type of dance which belongs to the music had yet been introduced. The music and the dance could have travelled along different paths. Nor is it certain that a particular type of dance has always been danced in the same manner. What we, for instance, call the =93jig=94 today is not necessarily the same type of dance as it was in the 17th century. In order to gain a general view of possible parallels between dance forms in the Nordic countries and the British Isles, one would have to look at contemporary descriptions of the dances in question. /.../ Where the research stands As far as I have been able to discern, there is no research that deals specifically with British/Irish influences on Swedish folk music =96 on the whole, there is in fact very little research about the =93engelska=94 as a type of music. On the other hand, there is research concerning different aspects of the subject matter, which, in combination, may provide a general picture. Documents and recordings of contradances, =93engelskor=94 etc. from the 17th century onwards may constitute interesting comparative material, which will make it possible to delineate the spread of different melodies and as far as possible ascertain their earliest appearance in the Nordic countries. It will also be possible to determine how the playing of melodies has changed over time. (1) Examples of such material are Johan Jacob Anckarstr=F6m=92s= book of dances from the 1760s, Carl-Gustaf Tullberg=92s book of fiddle tunes from 1822 (which, for instance, contains clearly identifiable versions of the melodies =93The Irish Washerwoman=94 and =93Lord = MacDonald=92s Reel=94), and Jacob Mestmacher=92s music book from the mid-18th century. More recent documents which might prove useful include, for example, the field recordings of folk music from Bohusl=E4n county made by the musicologist and folk music expert M=E4rta Ramsten in the 1960s, and =93Gamla danser i Sk=E5ne: engelskor=94 (=93Old Dances in = Scania:engelskor=94) by B=F6rje Wallin, which contains documentation of dances and melodies covering a period from the 1830s to the 1940s. Svenskt visarkiv (=93The Centre for Swedish Folk Music and Jazz Research=94), the music archives of Sm=E5land county and similar archives elsewhere in the Nordic countries (and in the British Isles) are likely to contain plenty of useful information. /.../"Times 2004-04-27 kl. 18.08 skrev Campbell Kaynor: Welcome Jonas! My name is Campbell Kaynor and I am probably best known as a New England (USA) contradance caller. My focus in Scandinavian music and dance has been the Vasterdala region from Appelbo, Vansbro, Dala Jarna.... but I am on this list because I also enjoy the dances and melodies brought to America by the first settlers from England. I have long been intrigued with the number of tunes and dances (especially from the west coastal regions of sweden) that were shared across the water but have never had the leisure to probe deeply. Perhaps you can enlighten us? Cheers, Cammy When a stupid man is doing something he is ashamed of, he always declares that it is his duty.=20 --George Bernard Shaw --Apple-Mail-1--296187532-- ----__JWM__J41c6.167eS.2781M-- ================================================================================ Archive-Date: Thu, 29 Apr 2004 08:13:57 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu From: catiegeist-AT-att.net Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: line dance Date: Thu, 29 Apr 2004 15:13:37 +0000 Message-ID: <042920041513.12293.40911BA0000D6E7E000030052160280748FF8B8C969A989A968B9E-AT-att.net> Dear Allison, It's the "Boot Scootin' Boogie" by Brooks and Dunn. The guy with the mullet haircut is Billy Ray Cyrus and his hit tune was "Achy Breaky Heart" which also had a Country and Western line dance choreographed to it. Catie Condran Geist (a closet C&W music fan in Palm Bay, Florida) ================================================================================ Archive-Date: Thu, 29 Apr 2004 09:33:18 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Date: Thu, 29 Apr 2004 16:30:42 GMT To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: line dance Content-Type: text/plain From: bobalonia-AT-juno.com Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <20040429.093138.15885.38380-AT-webmail14.lax.untd.com> In the Lexington, Kentucky area a very popular line dance comes from the disco era, "The Electric Slide". Also English Country dance could be discribed as in "sets" of couples, 2 couple, "Handel with Care" 3 couple, "Fandango" 4 couple, "Nonesuch" 5 couple, "Levi Jackson" Billy Ray Jimmy Jo Bob > From Allison Thompson > Interesting thesis! One little thing: the paragraph where you say that country dances are still practiced in Anglo-American traditions in the form of "line dances and square dances"....in America "line dances" are something done to popular country-western music. ================================================================================ Archive-Date: Thu, 29 Apr 2004 09:45:29 PDT Sender: owner-ecd-AT-playford.slac.stanford.edu MIME-Version: 1.0 Date: Thu, 29 Apr 2004 16:44:41 GMT To: ECD-AT-ssrl04.slac.stanford.edu Subject: Re: line dance Content-Type: text/plain From: allisonthompson-AT-juno.com Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <20040429.094445.1154.32575-AT-webmail20.nyc.untd.com> And I remember learning the Alley Cat, long long ago before line dances became C&W. -- bobalonia-AT-juno.com wrote: In the Lexington, Kentucky area a very popular line dance comes from the disco era, "The Electric Slide". Also English Country dance could be discribed as in "sets" of couples, 2 couple, "Handel with Care" 3 couple, "Fandango" 4 couple, "Nonesuch" 5 couple, "Levi Jackson" Billy Ray Jimmy Jo Bob > From Allison Thompson > Interesting thesis! One little thing: the paragraph where you say that country dances are still practiced in Anglo-American traditions in the form of "line dances and square dances"....in America "line dances" are something done to popular country-western music.