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Zeitschriftenartikel zum Thema „Fiddlers Fiddlers“

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Autor: Grafiati

Veröffentlicht am 25. Juli 2024

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1

Landry, Rachelle, und Jody Stark. „Learning to Fiddle in a Community of Practice“. MUSICultures 50 (18.03.2024): 249–68. http://dx.doi.org/10.7202/1110021ar.

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<p>This article explores some of the specific dynamics and processes experienced by Canadian old-time fiddlers as they learn to fiddle in a community of practice (CoP). Based on an analysis of interviews with several fiddlers at the Kenosee Lake Kitchen Party fiddling camp, we explore two elements of fiddling that the fiddlers identified as crucial to the development of expertise as an old-time fiddler: a danceable quality and personalizing a tune. Danceability allowed for historical continuity of the community’s practices, while making a tune your own provided a way to introduce new ideas and practices into the CoP, resulting in growth and change.</p>

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2

GIFFORD, PAUL M. „Henry Ford's Dance Revival and Fiddle Contests: Myth and Reality“. Journal of the Society for American Music 4, Nr. 3 (15.07.2010): 307–38. http://dx.doi.org/10.1017/s1752196310000167.

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AbstractHenry Ford's interest in reviving the dances of his youth and publicizing old fiddlers was a major media phenomenon of the 1920s. The claims of one fiddler became the source of the often repeated, but erroneous, assertion that Ford sponsored a national fiddlers' contest, which in turn has become a part of country music lore. This article, based mostly on archival sources and newspapers, attempts to describe the particular musical and dance traditions that interested Ford, his personal activities and ambitions in this area, his motivations, and the larger popular interest in the subject itself.

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3

DjeDje, Jacqueline Cogdell. „APPALACHIAN BLACK FIDDLING: HISTORY AND CREATIVITY“. African Music: Journal of the International Library of African Music 11, Nr. 2 (01.12.2020): 77–101. http://dx.doi.org/10.21504/amj.v11i2.2315.

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Discussions on Appalachian music in the United States most often evoke images of instruments such as the fiddle and banjo, and a musical heritage identified primarily with Europe and European Americans, as originators or creators, when in reality, many Europeans were influenced or taught by African-American fiddlers. Not only is Appalachian fiddling a confluence of features that are both African- and European-derived, but black fiddlers have created a distinct performance style using musical aesthetics identified with African and African-American culture. In addition to a history of black fiddling and African Americans in Appalachia, this article includes a discussion of the musicking of select Appalachian black fiddlers.

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4

Linemburg, Jorge. „Cegos rabequeiros cantadores of Northeast Brazil: Manifestation of the Blind Poet-Singer and Blind Fiddler Archetypes“. Revista Música 23, Nr. 1 (01.09.2023): 415–50. http://dx.doi.org/10.11606/rm.v23i1.208018.

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This article addresses the poetic, musical universe of cegos rabequeiros cantadores [blind singing fiddlers] in Northeast Brazil. These performers expressed themselves through a poetics in which their circumstances as men deprived of vision and their instruments became themes that inspired their artistic creations. Such a manifestation incorporated the archetypes of the blind poet-singer and the blind fiddler, widely diffused both geographically and historically, as do the poetic, musical elements of two traditional figures from the same region: the blind man who begs for alms while singing and the northeastern cantador [singer]. Most of these rabequeiros depended on handouts to survive, begging in exchange for songs accompanied by the rabeca [Brazilian fiddle].

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5

Grib, Vitalie. „PHENOMENON OF ION DRAGOI – EXPONENTIAL FOR THE ROMANIAN FOLKLORE FROM THE BACAU AREA“. Akademos 60, Nr. 1 (Juni 2021): 130–33. http://dx.doi.org/10.52673/18570461.21.1-60.17.

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Instrumental musical folklore, especially playing and listening songs, was and remains in the repertoire of professional musicians, fiddlers. Among them, the fiddlers-violinists have a special role in the preservation, promotion and development of popular instrumental music. We refer to those who are faithful to local traditions both in terms of interpretive style and repertoire. A virtuoso of the bow is the great Moldavian fiddler from the Bacau area Ion Dragoi. He left us a rich legacy of songs, which became models of inspiration, but also samples for the training of young violinists. The analysis of Ion Dragoi’s interpretive manner will allow us to achieve a further systematization of the particularities of violin performance specific to the folk space of historical Moldova.

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6

Min, Wah Wah, Kathiresan Kandasamy und Balasubramaniyan Balakrishnan. „Crab Species-Specific Excavation and Architecture of Burrows in Restored Mangrove Habitat“. Journal of Marine Science and Engineering 11, Nr. 2 (01.02.2023): 310. http://dx.doi.org/10.3390/jmse11020310.

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Burrowing crabs are considered to be ecosystem engineers, playing a vital role in mangrove ecosystems through bio-geochemical transformation. This process depends on the size and shape of burrows. The present study analyzes the architecture of burrows constructed by crabs in a restored mangrove habitat. Fourteen crab species were found to construct burrows of 13 different shapes, with a predominance of I-, J-, and L-shapes. Sesarmids were larger in size than fiddlers, and made burrows with wider openings mostly in the Rhizophora zone. Fiddlers constructed complex burrows with a vertical position, and made longer and deeper burrows in contrast to sesarmids, which formed simple burrows with a horizontal position, digging shorter and shallower burrows in Avicennia or open zones. The sesarmids had smaller burrows without branching in mangrove zones, whereas the fiddlers had larger burrows with or without branching in open and Avicennia zones. The burrows of fiddler crabs, especially Austruca occidentalis and A. annulipes, had separate openings and passages for exit and entry as an adaptation against predators. The present work identified Austruca occidentalis and A. annulipes as the most potent bioturbating crab species in restored mangrove habitats due to their efficiency in soil excavation and formation of large-sized burrows.

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7

Yaremko, Bohdan. „The artistic background of Demyan Lyndyuks' ('Popychyn') - representa- tive of Kosmach fiddle tradition“. Ethnomusic 14, Nr. 1 (2018): 132–41. http://dx.doi.org/10.33398/2523-4846-2018-14-132-141.

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

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8

Anderson, Robert, und Peter Cooke. „Island Fiddlers“. Musical Times 129, Nr. 1739 (Januar 1988): 22. http://dx.doi.org/10.2307/964976.

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9

Bradtke, Elaine. „Louisiana Fiddlers“. Folklore 125, Nr. 3 (02.09.2014): 360–75. http://dx.doi.org/10.1080/0015587x.2014.922785.

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10

SLOTTOW, STEPHEN P. „Ornamentation in Irish Fiddling: Eileen Ivers as a Case Study“. Journal of the Society for American Music 1, Nr. 4 (November 2007): 485–510. http://dx.doi.org/10.1017/s1752196307070435.

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AbstractThis article is a study of ornamentation in the fiddling of Eileen Ivers. Ivers grew up in the Bronx, studied with Limerick-born fiddler Martin Mulvihill, and has since become one of the most well-known of contemporary Irish fiddlers. Although Ivers is known primarily for her Irish fusion playing style, her more traditional core style is reflected in this article, which is based on a series of interview-lessons. The types of ornaments and their placement, combination, function, and effect in Ivers's performance of Irish dance music are discussed.

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11

Carl Rahkonen. „Southern Fiddlers and Fiddle Contests (review)“. Notes 66, Nr. 2 (2009): 287–88. http://dx.doi.org/10.1353/not.0.0258.

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12

Holman, L., A. T. Kahn und P. R. Y. Backwell. „Fiddlers on the roof: elevation muddles mate choice in fiddler crabs“. Behavioral Ecology 25, Nr. 2 (02.01.2014): 271–75. http://dx.doi.org/10.1093/beheco/art125.

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13

Perris, Arnold. „Fiddlers in the Meadow“. American String Teacher 36, Nr. 3 (August 1986): 24–25. http://dx.doi.org/10.1177/000313138603600314.

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Arnold Perris is a musicologist at the University of Missouri in St. Louis. His writings often record the endurance of traditional music in various parts of the world. His most recent publication is Music as Propaganda (Greenwood Press, 1985).

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14

Lamb, William. „Reeling in the Strathspey: The Origins of Scotland’s National Music“. Scottish Studies 36 (31.12.2013): 66. http://dx.doi.org/10.2218/ss.v36.2706.

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

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15

WELLS, PAUL F. „Elias Howe, William Bradbury Ryan, and Irish Music in Nineteenth-Century Boston“. Journal of the Society for American Music 4, Nr. 4 (19.10.2010): 401–20. http://dx.doi.org/10.1017/s1752196310000350.

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

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16

Kim, Minju, Seojeong Park, Hye Min Lee und Taewon Kim. „Where the fiddlers sing: fiddler crabs change their tunes depending on the context“. Animal Behaviour 207 (Januar 2024): 37–45. http://dx.doi.org/10.1016/j.anbehav.2023.10.006.

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17

Krishnan, S. „Distribution of Fiddlers in India“. Records of the Zoological Survey of India 91, Nr. 3-4 (01.12.1992): 471. http://dx.doi.org/10.26515/rzsi/v91/i3-4/1992/160927.

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18

Chen, Man-Wen, und I.-Nan Lien. „Musculo-Skeletal Problems in Fiddlers“. Rehabilitation Practice and Science 15, Nr. 1 (01.12.1987): 77–84. http://dx.doi.org/10.6315/3005-3846.1727.

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19

Greene, Jonathan. „The Message of Old-Time Fiddlers“. Appalachian Heritage 29, Nr. 4 (2001): 6. http://dx.doi.org/10.1353/aph.2001.0030.

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20

Aronson, Seth. „Balancing the Fiddlers on My Roof“. Contemporary Psychoanalysis 43, Nr. 3 (Juli 2007): 451–59. http://dx.doi.org/10.1080/00107530.2007.10745922.

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21

Rochberg, George. „Fiddlers and Fribbles, or, Is Art a Separate Reality?“ New Literary History 18, Nr. 2 (1987): 257. http://dx.doi.org/10.2307/468729.

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22

cutler, carolyn. „How Fiddlers Learn and What They can Teach us“. American String Teacher 52, Nr. 2 (Mai 2002): 68–73. http://dx.doi.org/10.1177/000313130205200229.

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23

Cockayne, Emily. „Cacophony, or vile scrapers on vile instruments: bad music in early modern English towns“. Urban History 29, Nr. 1 (Mai 2002): 35–47. http://dx.doi.org/10.1017/s0963926802001049.

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Drawing on contemporary musings and references from a variety of civic records, this article will consider music heard in the public spaces of urban England between the mid-sixteenth and mid-eighteenth centuries. Negative reactions to performers such as common fiddlers and street traders became increasingly common as the period progressed and were intimately connected both with fears concerning the crowd-gathering potential of such people and with a desire to control the sound environment to enable effective sleep, worship and concentration.

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24

Ackermann, Bronwen J. „Pain Across Artists' Lifespan“. Medical Problems of Performing Artists 33, Nr. 1 (01.03.2018): 75–76. http://dx.doi.org/10.21091/mppa.2018.1001.

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Having a lifelong career as a professional performing artist carries both challenges and benefits across different body systems. Pushing one’s body to the limits results in a higher risk of suffering from some kind of episode of overload, whether it be physical or psychological. Indeed, a sudden increase in playing load (overtraining) is linked with increased frequency and intensity of pain or performance-related musculoskeletal disorders in both dance and music student populations. In this issue, research highlights this across the lifespan and in different genres of performing arts, including Irish fiddlers.

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25

Childs-Helton, Sally C., und Philip Martin. „Farmhouse Fiddlers: Music and Dance Traditions in the Rural Midwest“. Michigan Historical Review 21, Nr. 2 (1995): 158. http://dx.doi.org/10.2307/20173539.

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26

LAMSDELL, JAMES C., und DEREK E. G. BRIGGS. „The first diploaspidid (Chelicerata: Chasmataspidida) from North America (Silurian, Bertie Group, New York State) is the oldest species of Diploaspis“. Geological Magazine 154, Nr. 1 (21.07.2016): 175–80. http://dx.doi.org/10.1017/s0016756816000662.

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AbstractA single specimen of a new species of the chasmataspidid Diploaspis Størmer, 1972 is described from the upper Silurian (Pridoli) Phelps Member of the Fiddlers Green Formation (Bertie Group) in Herkimer County, New York State, USA. Diploaspis praecursor sp. nov. is distinguished by the shape of the posterolateral margins of the buckler, which are drawn out into angular epimera, and by the lack of elongate tubercles on the postabdomen. This discovery increases the taxonomic diversity of the Bertie Group by extending the geographic extent of Diploaspididae into North America. D. praecursor pre-dates previously known species of Diploaspis by more than 10 million years.

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27

Ruchala, James. „Appalachian Fiddle Music: Featuring 43 Fiddlers and 188 of Their Tunes by Drew Beisswenger and Roy Andrade, with Scott Prouty“. Notes 79, Nr. 1 (September 2022): 89–91. http://dx.doi.org/10.1353/not.2022.0077.

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28

Bonta, Stephen, und Peter Holman. „Four and Twenty Fiddlers: The Violin at the English Court, 1540-1690.“ Sixteenth Century Journal 27, Nr. 2 (1996): 572. http://dx.doi.org/10.2307/2544205.

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29

Bonta, Stephen, und Peter Holman. „Four and Twenty Fiddlers: The Violin at the English Court, 1540-1690.“ Sixteenth Century Journal 26, Nr. 4 (1995): 1055. http://dx.doi.org/10.2307/2543886.

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30

Field, Christopher D. S., und Peter Holman. „Four and Twenty Fiddlers: The Violin at the English Court 1540-1690“. Galpin Society Journal 48 (März 1995): 226. http://dx.doi.org/10.2307/842829.

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31

Mangsen, Sandra, und Peter Holman. „Four and Twenty Fiddlers: The Violin at the English Court 1540-1690“. Notes 51, Nr. 2 (Dezember 1994): 559. http://dx.doi.org/10.2307/898863.

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32

Sykes, J. J. W. „Fiddlers and Whores The Candid Memoirs of a Surgeon in Nelson’s Fleet“. Journal of The Royal Naval Medical Service 92, Nr. 3 (Dezember 2006): 147. http://dx.doi.org/10.1136/jrnms-92-147.

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33

Freeman-Attwood, Jonathan, und Peter Holman. „Four and Twenty Fiddlers: The Violin at the English Court 1540 - 1690“. Musical Times 134, Nr. 1808 (Oktober 1993): 583. http://dx.doi.org/10.2307/1002875.

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34

Smith, Gordon E. „The Prince Edward Island Style of Fiddling: Fiddlers of Western Prince Edward Island“. American Music 20, Nr. 4 (2002): 466. http://dx.doi.org/10.2307/1350154.

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35

Bellany, Alastair. „Singing Libel in Early Stuart England: The Case of the Staines Fiddlers, 1627“. Huntington Library Quarterly 69, Nr. 1 (März 2006): 177–94. http://dx.doi.org/10.1525/hlq.2006.69.1.177.

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36

Pitt, L., und D. Nel. „Kamen's quick clustering of participation data: A research note“. South African Journal of Business Management 19, Nr. 2 (30.06.1988): 75–78. http://dx.doi.org/10.4102/sajbm.v19i2.974.

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This brief research note revisits a simple, but very useful clustering procedure developed by Kamen (1970), and illustrates its use in the clustering of attitudinal/perceptual data. For the purpose of illustrating the technique, perceptions of peer group participation in potentially corrupt situations in business were used as the data set. The mean responses, standard deviations and medians of 458 managers served as input for a correlation matrix from which the variables were clustered. The clusters formed by the analysis have been interpreted as 'The Insiders', 'Felons', 'Happy Holidays', 'The Fiddlers', 'A Bit on the Side', and 'The Innocents'. From the clusters identified it was evident that some situations were similar in nature. Quick clustering of the pilot study data is regarded as successful and could therefore lead to improved questionnaire design as well as the elimination of similar questions.

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37

Macdonald, Janet. „Book Review: Fiddlers and Whores: The Candid Memoirs of a Surgeon in Nelson's Fleet“. International Journal of Maritime History 18, Nr. 2 (Dezember 2006): 594–95. http://dx.doi.org/10.1177/084387140601800297.

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38

Yaffe, Michael, und Scott Shuler. „Will we Train Fiddlers While Rome Burns? Community Arts Schools and the Public Schools“. Design For Arts in Education 93, Nr. 6 (August 1992): 32–36. http://dx.doi.org/10.1080/07320973.1992.9935588.

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39

Campbell, Gavin James. „Violin, Sing the Blues for Me: African American Fiddlers, 1926-1949 (review)“. Southern Cultures 6, Nr. 1 (2000): 93. http://dx.doi.org/10.1353/scu.2000.0036.

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40

Popa, Bogdan. „Laplanche and the anti-racist unconscious, rewriting seduction, listening to the noise“. Journal of Psychosocial Studies 13, Nr. 1 (01.03.2020): 49–63. http://dx.doi.org/10.1332/147867320x15803492921819.

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This article proposes the idea of an anti-racist unconscious to respond to problems raised by Jean Laplanche’s conceptualisation of ‘enigmatic messages’. In reversing the dynamic between the seducer and the seduced, I ask: What if a racialised person produces messages that will disturb a legacy of slavery and its history of violence? In drawing on an intersectional analytic inspired by queer theory, post-socialist theory, critical race studies and Roma studies, this article suggests that Laplanche’s enigmatic messages (‘noises’) can function as epistemological interventions seeking to decolonise a Euro-American imagination. Given that the unconscious has been conceptualised according to modes of storytelling that speak from the standpoint of institutions of white domination, I show that the unconscious can function as an anti-racist epistemological site. I focus my analysis on a Soviet film (The Fiddlers, Loteanu, 1971) to identify how enigmatic messages lead to Roma tactics such as the counterfeit and the curse, which respond to racialised violence either by terrifying the oppressors or by taking back resources from them.

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41

Baklanoff, Joy, Jim Cauthen, Doug Crosswhite und Joyce Cauthen. „Possum up a Gum Stump: Home, Field, and Commercial Recordings of Alabama Fiddlers Past and Present“. Ethnomusicology 36, Nr. 1 (1992): 140. http://dx.doi.org/10.2307/852094.

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42

Sildoja, Krista. „Fiddlers and their manner of playing from Tori and Vändra parish in the early 20th century“. Mäetagused 49 (2011): 65–92. http://dx.doi.org/10.7592/mt2011.49.sildoja.

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43

Fricker, A. J. „An assessment of the role of geometric imperfections in the collapse of the fiddlers ferry cooling tower“. Journal of Wind Engineering and Industrial Aerodynamics 30, Nr. 1-3 (August 1988): 95–104. http://dx.doi.org/10.1016/0167-6105(88)90075-x.

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44

Haugen, Mari Romarheim. „Investigating Music-Dance Relationships“. Journal of Music Theory 65, Nr. 1 (01.04.2021): 17–38. http://dx.doi.org/10.1215/00222909-9124714.

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Abstract This article studies the rhythm of Norwegian telespringar, a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance couple revealed a long-medium-short duration pattern at the beat level in both the fiddler's and the dancers' periodic movements. The results also revealed a correspondence between how the fiddler and the dancers executed the motion patterns. This correspondence suggests that the performers share a common understanding of the underlying “feel” of the music. The results are discussed in light of recent theoretical perspectives on the multimodality of human perception. It is argued that the special feel of telespringar derives from embodied sensations related to the dance and how music and dance have developed in tandem over time. The study advocates a holistic view of music and dance, the importance of insider experience, and the role of embodied experience in guiding our understanding of the music as such.

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45

Zinn-Kirchner, Zahavah, Moonef Alotaibi, Dirk Mürbe und Philipp P. Caffier. „For Fiddlers on the Roof and in the Pit: Healthcare and Epidemiology of Playing-Related Problems in Violinists“. Journal of Multidisciplinary Healthcare Volume 16 (August 2023): 2485–97. http://dx.doi.org/10.2147/jmdh.s425406.

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46

MacDonald, Robert. „Fiddly Jobs, Undeclared Working and the Something for Nothing Society“. Work, Employment and Society 8, Nr. 4 (Dezember 1994): 507–30. http://dx.doi.org/10.1177/095001709484002.

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Whilst it may be easy to dismiss ideological diatribes about `a something for nothing society' as empty rhetoric, there are relatively few recent studies with which to assess claims about `benefit scroungers' and `dole fiddlers'. Qualitative methods were employed to explore the ways in which some working-class people in an economically depressed locality did `fiddly jobs' (i.e. working `undeclared' whilst in receipt of unemployment benefits). The research explored the motivations underpinning fiddly work and the normative values surrounding it. Informants expressed a clear and conservative morality which stood at odds with descriptions of a `welfare underclass' or `dependency culture': most common types of fiddling (irregular, low-paid, temporary) were economically necessary and were done (usually by men) in order to support household incomes and to preserve self-respect. Fiddly work was distributed through local social networks which allowed a minority to maintain an involvement with work culture and to avoid some of the worst material and social psychological consequences of unemployment. Thus fiddly jobs in sub-contracted and other sectors of casualised work are part of a survival strategy through which some people develop alternative ways of working in the face of restricted avenues for legitimate employment and a system of benefits which failed to meet people's material needs.

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Pavliv, Yarema. „Retrospective View of the Performance of Kolomyika Melodies in the Dance Hutsulka by Fiddlers of the Kosmach-Brustury Tradition“. Ethnomusic 17, Nr. 1 (2021): 121–46. http://dx.doi.org/10.33398/2523-4846-2021-17-1-121-146.

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POPE, R. A. „STRUCTURAL DEFICIENCIES OF NATURAL DRAUGHT COOLING TOWERS AT UK POWER STATIONS. PART 1: FAILURES AT FERRYBRIDGE AND FIDDLERS FERRY.“ Proceedings of the Institution of Civil Engineers - Structures and Buildings 104, Nr. 1 (Februar 1994): 1–10. http://dx.doi.org/10.1680/istbu.1994.25675.

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Haugen, Mari Romarheim. „Investigating Periodic Body Motions as a Tacit Reference Structure in Norwegian Telespringar Performance“. Empirical Musicology Review 11, Nr. 3-4 (25.04.2017): 272. http://dx.doi.org/10.18061/emr.v11i3-4.5029.

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The pulse level in music is often described as a series of isochronous beats that provides an underlying reference structure against which we perceive rhythmic patterns. This notion is challenged by music styles that seem to feature an underlying reference structure that consists of beats of uneven duration, such as certain traditional Scandinavian dance music genres in so-called asymmetrical meter. This study investigates periodic body motion as a reference structure in a specific style of traditional Norwegian dance music called telespringar. The intimate relationship between music and motion is often highlighted in rhythm studies of telespringar, so this study encompasses both sound and motion analyses. It is based on a motion capture study of three telespringar performers; one fiddler and two dancers. Motion analysis of the fiddler's foot stamping indicates a stable long–medium–short duration pattern at beat level. Motion analysis of the dancers' vertical motion of the hips revealed a periodic pattern in synchrony with the beat duration pattern determined by the fiddler's foot stamping. This result implies that the underlying rhythmic structures in telespringar depend upon a shared and embodied knowledge of the underlying asymmetrical reference structure that is implicit in the production and perception of telespringar.

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McDavid, Jodi. „The Fiddle Burning Priest of Mabou“. Ethnologies 30, Nr. 2 (16.02.2009): 115–36. http://dx.doi.org/10.7202/019948ar.

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Father Kenneth MacDonald was the priest of Mabou, Cape Breton, from 1865-1894. Written accounts detail him as a strict disciplinarian and social advocate: against the consumption of alcohol; disliking picnics; and telling parishioners how to vote. But the written word seems to leave out the one event that locals still discuss: how he went door to door and burnt their fiddles. Although a small rural town, Mabou is one of cultural importance in Cape Breton, considered the heart of Cape Breton traditional music. Of central iconic importance in both the folk and popular manifestations of this music is the fiddle.

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