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Relevant bibliographies by topics / Fidddle

Academic literature on the topic 'Fidddle'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Journal articles on the topic "Fidddle"

1

McDavid, Jodi. "The Fiddle Burning Priest of Mabou." Ethnologies 30, no. 2 (February 16, 2009): 115–36. http://dx.doi.org/10.7202/019948ar.

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

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Brauer-Benke, József. "Vonós hangszerek Afrikában." Afrika Tanulmányok / Hungarian Journal of African Studies 16, no. 2 (December 13, 2022): 14–40. http://dx.doi.org/10.15170/at.2022.16.2.2.

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A survey of the available historical data allows one to show that the appearance and adoption of bowed string instruments in the different cultural regions of Africa took place in different periods and owing to different influences. After this instrument category had appeared in Central Asia in the 9th century, it spread to the eastern lands of the Arab world (Mashriq) in the 10th century, and thence to the western lands of the Arab world (Maghrib) in the course of the 12th to 13th centuries. The so-called rebab fiddle type (carved of a single piece of wood and provided with a body made of a coconut shell) was modified by the peoples of West Africa so that it had a body made of the locally abundant large calabash, while the peoples of northeastern Africa adopted various relatives of the kamanja fiddle type (having a box-like body), such as the Ethiopian masenko and the Eritrean wat’a. Contrastingly, the Swahili cultural region adopted the fiddle type having a pipe-shaped body, characteristic of the Far East and Southeast Asia, from the Chinese merchants and explorers of the early 15th century, an instrument type later carried by Swahili trading caravans into Central Africa and the southern parts of East Africa. Although the southernmost portion of South Africa is home to seemingly very archaic bowed string instruments, European cultural influences have been a definite factor in this region since the mid-17th century. It is unsurprising, then, that an etymological analysis of ostensibly archaic string instruments reveals the impact of European bowed instruments through stimulus diffusion, i.e. the local adoption of the idea of a bow and its adaptation to indigenous instruments previously played with hitting the strings or rubbing them with sticks. In comparison to other instruments of West Africa, bowed instruments have barely survived modernization and, obsolete as they now are, play little role on the stages of world music. This process was exacerbated by the influence of the Islamic reform movements of the 19th century that deemed them barely tolerated or even prohibited instruments because of their associations with the pre-Islamic era; this had already gradually reduced their use in the two centuries preceding the modernization of the 20th century. The use of bowed string instruments has also declined significantly in eastern ands Africa. It is only in the North African region that bowed string instruments enjoy continuing popularity. For example, they are still used widely by the rural folk orchestras of Egypt, while in Morocco the rebab has been modernized for classical Arabic music by adopting certain parts of the European fiddle (e.g. tailpiece, bridge, fingerboard). The European fiddle was also adopted wholesale in North Africa; so that European and traditional instruments are now employed simultaneously by many Algerian orchestras. (image 22) It is remarkable that European fiddles are played in a vertical position in this context, a playing technique usual for folk fiddles; the potential playing techniques inherent in the shape of the European fiddle are thus not utilised at all.

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Rusek, Zbigniew. "Цигулка, гъдулка… i inne nazwy ‘skrzypiec’ w języku bułgarskim (w porównaniu z pozostałymi językami słowiańskimi)." Studia z Filologii Polskiej i Słowiańskiej 48 (June 16, 2015): 181–205. http://dx.doi.org/10.11649/sfps.2013.011.

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Цигулка, гъдулка… and other names for ‘violin, fiddle’ in Bulgarian (in comparison to other Slavonic languages)This paper analyses names for ‘violin’ in Bulgarian, examined against a Slavonic background. A broader approach has been taken to these names, because the article concerns not only the “classic” violin, but also the folk instruments (fiddles), which have different names in Bulgarian (and other Slavonic languages): цигулка, гъдулка, гусла, кемане, лаута, виолина, гънилка, виулица. These names are described from the semantic, derivational and etymological point of view. The noun цигулка, the basic name of ‘violin’, occurs only in Bulgarian and it is unknown in other Slavonic languages, although there are documented derivatives in Serbo-Croatian. The noun кемане ‘violin’, from Turkish, also occurs in Macedonian and Serbo-Croatian and other languages belonging to the Balkan league. The second part of the papers is devoted to the names for ‘violin’ in other Slavonic languages. Some names, extant only in some of the Slavonic languages, are derived from an onomatopoeic stem (Bulg. цигулка, Pol. skrzypce, East-Slavonic скрипка). Most of the Slavonic languages have a noun derived from gǫsli, a Common Slavic ancestor, but in some Slavonic languages (Czech, Slovak, and Sorabic) this word now means the classic violin, while in others it means ‘fiddle’ (comp. Pol. gęśle, Bulg. гусла), and in the Eastern Slavonic languages and Old Church Slavonic it means a ‘plucked string instrument’ ‘a kind of lute’. In Serbo-Croatian it means both the classic violin and primitive fiddle. Polabian has its own name form ‘violin’ gigléikia, which comes from German.

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Tang, Shengpu, Parmida Davarmanesh, Yanmeng Song, Danai Koutra, Michael W. Sjoding, and Jenna Wiens. "Democratizing EHR analyses with FIDDLE: a flexible data-driven preprocessing pipeline for structured clinical data." Journal of the American Medical Informatics Association 27, no. 12 (October 11, 2020): 1921–34. http://dx.doi.org/10.1093/jamia/ocaa139.

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Abstract Objective In applying machine learning (ML) to electronic health record (EHR) data, many decisions must be made before any ML is applied; such preprocessing requires substantial effort and can be labor-intensive. As the role of ML in health care grows, there is an increasing need for systematic and reproducible preprocessing techniques for EHR data. Thus, we developed FIDDLE (Flexible Data-Driven Pipeline), an open-source framework that streamlines the preprocessing of data extracted from the EHR. Materials and Methods Largely data-driven, FIDDLE systematically transforms structured EHR data into feature vectors, limiting the number of decisions a user must make while incorporating good practices from the literature. To demonstrate its utility and flexibility, we conducted a proof-of-concept experiment in which we applied FIDDLE to 2 publicly available EHR data sets collected from intensive care units: MIMIC-III and the eICU Collaborative Research Database. We trained different ML models to predict 3 clinically important outcomes: in-hospital mortality, acute respiratory failure, and shock. We evaluated models using the area under the receiver operating characteristics curve (AUROC), and compared it to several baselines. Results Across tasks, FIDDLE extracted 2,528 to 7,403 features from MIMIC-III and eICU, respectively. On all tasks, FIDDLE-based models achieved good discriminative performance, with AUROCs of 0.757–0.886, comparable to the performance of MIMIC-Extract, a preprocessing pipeline designed specifically for MIMIC-III. Furthermore, our results showed that FIDDLE is generalizable across different prediction times, ML algorithms, and data sets, while being relatively robust to different settings of user-defined arguments. Conclusions FIDDLE, an open-source preprocessing pipeline, facilitates applying ML to structured EHR data. By accelerating and standardizing labor-intensive preprocessing, FIDDLE can help stimulate progress in building clinically useful ML tools for EHR data.

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Pambayun, Wahyu Thoyyib. "PEMANFAATAN AUDIO RECORDING EQUIPMENT DALAM PEMBELAJARAN PRAKTIK INSTRUMEN REBAB, KENDANG DAN GENDER." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 21, no. 2 (March 1, 2022): 225–41. http://dx.doi.org/10.33153/keteg.v21i2.4119.

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This research is entitled "Utilization of Audio Recording Equipment in Practical Learning of Rebab, Kendang and Gender Instrument." The problems described in this study are: how are the types of audio recording equipment that can be used in learning the practice of fiddle, drum, and gender instrument, how to set and use audio recording equipment, and how to use audio recording equipment in learning the practice of fiddle, drums, and gender instrument. This research is qualitative research that uses descriptive analysis research methods. Data were collected by means of observation, literature study, and interviews. The data analysis technique used includes four stages: data collection, data reduction, data display, and concluding. The purpose of this study is to provide recommendations for types of audio recording equipment that can be used in learning the practice of fiddle, drum, and gender instrument, provide an understanding of how to set and use audio recording equipment, as well as provide an understanding of how to use audio recording equipment in learning the practice of the fiddle instrument. Drums and gender.

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Kennedy, Clifford E. "Fiddle stick." Journal of the Acoustical Society of America 90, no. 6 (December 1991): 3393. http://dx.doi.org/10.1121/1.401316.

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Morgan, Robert. "Horse Fiddle." Appalachian Heritage 34, no. 3 (2006): 34. http://dx.doi.org/10.1353/aph.2006.0088.

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von Rosen, Franziska, Michael Loukinen, and James P. Leary. "Medicine Fiddle." Ethnomusicology 43, no. 2 (1999): 391. http://dx.doi.org/10.2307/852753.

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Rahkonen, Carl, and Vidar Lande. "Norway: Fiddle and Hardanger Fiddle Music from Agder." Yearbook for Traditional Music 31 (1999): 212. http://dx.doi.org/10.2307/768054.

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Baker, O. R. "Rochester's 'Scotch Fiddle': or the Duke's 'Scotched Fiddle?'." Notes and Queries 61, no. 3 (August 26, 2014): 394–95. http://dx.doi.org/10.1093/notesj/gju082.

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Dissertations / Theses on the topic "Fidddle"

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Howell, Les. "Dancing without a fiddle." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.

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Žák, Josef. "Fiddle music - úloha houslí v americké lidové hudbě." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79388.

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My thesis treats the fiddling as the fundament of the Country music. I write about various styles of the fiddle music : old-time music, bluegrass, Irish & Scottish fiddling, French-Canadien style, Texas contest style, Western swing, and about the great fiddlers. I think this dissertation could be an inspiration for violinists in the Czech Republic because this genre of music is not very known there.

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Perttu, Melinda Heather Crawford. "A Manual for the Learning of Traditional Scottish Fiddling: Design, Development, and Effectiveness." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299300924.

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Glen, Katherine Marshall. "Expressive microtimings and groove in Scottish Gaelic fiddle music." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54477.

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This project examines how “groove” can be created through the microtimings of a solo instrument, rather than as discrepancies between multiple instruments or parts, as is often the case in similar studies. Groove is the nuanced rhythmic element of music in which microtiming patterns play upon listeners’ bodies in complex ways and stimulate movement. My study focuses on the reel, a type of dance tune used in the Scottish Gaelic tradition. Despite the repetitiveness and relative simplicity of the melody in this genre, these tunes have been widely played and performed for many years, and this seems to be due, in large part, to their rhythmic features. I analyze five recordings of a popular reel, “Jenny Dang the Weaver,” by different performers, using methodologies typically applied to the jazz canon. Each recording features only a solo fiddle, so any expressive microtimings are the result of the single performer and musical line, not influenced by interaction with other instruments. My analysis demonstrates that these recordings create groove through beat subdivisions and subversion of expected microtiming patterns. The primary method for analysis is a comparison of beat-upbeat ratios (BUR) and upbeat-beat-ratios (UBR) throughout the measure to determine any trends or significant outliers. The analysis shows that these performers, despite their different backgrounds, share certain microtiming trends and patterns (particularly in the performance of beats 2 and 3, and the presence of phenomenal accents on beat 2), which could therefore be understood as characteristic features of the Gaelic style. Conversely, I also demonstrate that while conforming to those patterns, each musician nevertheless has idiosyncrasies of microtiming that distinguish them from each other.
Arts, Faculty of
Music, School of
Graduate

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5

Peat, Maggie. "Second fiddle or second chance? : the significance of grandfatherhood." Thesis, University of York, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422539.

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Campbell, Katherine. "Learning to play Scots fiddle : an adult learning perspective." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/30415.

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This thesis examines how adults learn to play Scots fiddle. It focuses on a group of adults who are members of an intermediate-standard fiddle class in the city of Edinburgh, Scotland. The class is part of the wider contemporary phenomenon in Scotland whereby traditional music is being taught on the fiddle and other instruments in evening classes, workshops and residential courses. Although the current investigation is located within the field of ethnomusicology, insights are also drawn from modern adult learning theory. A review of related literature reveals that, hitherto, studies which have considered settings in which traditional music is formally taught have often chosen to focus on the role of the teacher. As a consequence, considerable emphasis has been given to the concept of transmission. I argue here, however, that the ethnomusicologists' prevailing view of transmission as a transfer of information from a teacher to those being taught may not be the most appropriate framework through which to consider learning, and particularly so where adult learners are concerned. If we are to deepen our understanding of how people learn to play traditional music, we need to understand in greater depth the learner's perspective. The results of the study shed significant insights into the complexity of practice and the importance of this activity for learning the fiddle. The findings also highlight the variable and individual nature of the learning process. In turn, this underlines the inadequacy of the traditionally held view of transmission as a framework for understanding how instrumental skills are taught and learned. The implications arising from this investigation for conceptual understanding in ethnomusicology, adult music education and the formal tuition of traditional music in Scotland are discussed, and topics for further research are indicated.

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Beaver, Shirley Ruth Oetjen. "Second fiddle? an interpretive study of followers of servant leaders /." [Ames, Iowa : Iowa State University], 2008.

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Stock, Jonathan Paul Janson. "Context and creativity : the two-stringed fiddle erthu in contemporary China." Thesis, Queen's University Belfast, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334644.

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Rancier, Megan Margrey. "The Kazakh qyl-qobyz biography of an instrument, story of a nation /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930892981&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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DeRivera, Catherine E. "Conflict over male searching in fiddler crabs /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956458.

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Books on the topic "Fidddle"

1

Phillips, Stacy. Beginning fiddle. New york: Amsco Publications, 1990.

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Second fiddle. NewYork, N.Y., U.S.A: Penguin Books, 1990.

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Watson, Krista M. Pépère's fiddle. Saint Johnsville, N.Y: Sunnyside Press, 2008.

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Second fiddle. London: Macmillan, 1988.

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Mitchell, Lester. Second fiddle. Huntington, W. Va: Aegina Press, 1995.

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Parry, Rosanne. Second fiddle. New York: Random House, 2011.

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Wesley, Mary. Second fiddle. New York, N.Y., U.S.A: Penguin Books, 1990.

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8

Brimner, Larry Dane. Nana's fiddle. New York: Children's Press, 2002.

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9

Root, Phyllis. Rosie's fiddle. New York: Lothrop, Lee & Shepard, 1997.

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Doucet, Sharon Arms. Fiddle fever. Waterville, ME: Thorndike Press, 2001.

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Book chapters on the topic "Fidddle"

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Collinson, Francis. "The Fiddle." In The Traditional and National Music of Scotland, 199–227. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205845-8.

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Grobman, Steve, and Allison Cerra. "Playing Second Fiddle." In The Second Economy, 97–113. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-2229-4_6.

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Weis, Judith S. "Fiddler Crabs." In Encyclopedia of Estuaries, 315. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-8801-4_23.

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Macleod, Joseph. "Violins and Fiddles." In The Sisters d' Aranyi, 37–45. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228684-4.

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Bolick, Harry, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, and David Evans. "The Newton County Hill Billies/Alvis Massengale." In Fiddle Tunes from Mississippi, 477–85. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.003.0034.

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The Newton County Hill Billies recorded six tunes for Okeh Records in Jackson, Mississippi, on December 16, 1930. Alvis Massengale (08/05/1897–10/13/1993) played fiddle, Marcus Harrison mandolin, and Andrew Harrison guitar. Massengale started playing the fiddle around the age of ten, learning from his father and grandfather, who were both fiddlers, and by listening to the radio and records. He claimed that at one point his repertoire reached one hundred and fifty tunes, seventy-five of which he still remembered in 1980 at the age of eighty-three. He was a highly skilled fiddler playing carefully phrased and ornamented tunes.

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"fiddle." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.03942.

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Mars, Gerald. "Fiddle Factors and Fiddle-Proneness." In Cheats at Work, 136–60. Routledge, 2019. http://dx.doi.org/10.4324/9780429020452-7.

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FAUX, THOMAS. "Fiddle-icious:." In Cultural Sustainabilities, 273–82. University of Illinois Press, 2019. http://dx.doi.org/10.5406/j.ctvh9w1f9.26.

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Kramer, Lawrence. "Persephone's Fiddle." In Why Classical Music Still Matters, 205–26. University of California Press, 2007. http://dx.doi.org/10.1525/california/9780520250826.003.0007.

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"fiddle string." In The Fairchild Books Dictionary of Textiles. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365072.6102.

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Conference papers on the topic "Fidddle"

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Willner, Alexander, Robyn Loughnane, and Thomas Magedanz. "FIDDLE: Federated Infrastructure Discovery and Description Language." In 2015 IEEE International Conference on Cloud Engineering (IC2E). IEEE, 2015. http://dx.doi.org/10.1109/ic2e.2015.77.

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Chonpairot, Jaremchai. "Changes of Musical Instruments’ Names Along the Long Journey: Adopting, Adapting, Transforming and Changing." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-1.

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Through a long distance migration of some musical instruments, their relationships are sometimes given by their names. In this paper, the author will investigate the traces of their origins and the present locations of selected instruments. A number of musical instruments’ names will be analyzed through linguistic aspects -- adopting, adapting, transforming and changing. These names include vina plucked instruments, sa diev monochord, taro fiddle, ku drum, pey or oboe, sralai oboe, and ken bamboo mouth organ.

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Jang, Hyuk Jae, Gil Ju Lee, Mincheol Lee, Dae-Hyeong Kim, and Young Min Song. "Bioinspired Camera System with Amphibious and Panoramic Vision." In Frontiers in Optics. Washington, D.C.: Optica Publishing Group, 2022. http://dx.doi.org/10.1364/fio.2022.fth3d.2.

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The eyes of fiddler crab inspire a novel artificial camera system, which provides amphibious and panoramic features. We integrate the flat and graded index micro-lens with comb-shaped photodiode array mounted on a three-dimensionally spherical structure.

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Phillips, Fred. "Chaos, strategy, and action: How not to fiddle while Rome burns." In Technology. IEEE, 2009. http://dx.doi.org/10.1109/picmet.2009.5262252.

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Thinnakorn na ayuthaya, Phonlasit. "Experimental Study on Comparison Sound Quality Measurement of Thai fiddle Resonator." In 2020 6th International Conference on Engineering, Applied Sciences and Technology (ICEAST). IEEE, 2020. http://dx.doi.org/10.1109/iceast50382.2020.9165344.

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Vianna, B. S., and T. M. Costa. "DOES CLAW-WAVING DISPLAY HELP THERMOREGULATION IN FIDDLER CRABS?" In X Congresso Brasileiro sobre Crustáceos. Sociedade Brasileira de Carcinologia, 2018. http://dx.doi.org/10.21826/2178-7581x2018102.

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Sereno-Janz, Elisa. "FiddleLights: Kinetic Signatures of the Bow Hand- Visualising Fiddle Tunes and Contemporary Violin Performance." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.22.

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Kirkland, Larry V. "Fiddly fussy finicky failures can deviously evade detection." In 2014 IEEE AUTOTEST. IEEE, 2014. http://dx.doi.org/10.1109/autest.2014.6935130.

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Schiedermeier, Maximilian, Jörg Kienzle, and Bettina Kemme. "FIDDLR: streamlining reuse with concern-specific modelling languages." In SLE '21: 14th ACM SIGPLAN International Conference on Software Language Engineering. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3486608.3486913.

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Pardo, J. C. F., S. Cannicci, P. J. Jimenez, P. Granado, and T. M. Costa. "MATERNAL STATUS ELICITS DIFFERENTIAL RESPONSES TO WARMING IN FIDDLER CRABS." In X Congresso Brasileiro sobre Crustáceos. Sociedade Brasileira de Carcinologia, 2018. http://dx.doi.org/10.21826/2178-7581x2018216.

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Reports on the topic "Fidddle"

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Johnson, Jr, Lyle A. FIDDLER CREEK POLYMER AUGMENTATION PROJECT. Office of Scientific and Technical Information (OSTI), October 2001. http://dx.doi.org/10.2172/789610.

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Mineral resources of the Fiddler Butte (East) Wilderness Study Area, Garfield County, Utah. US Geological Survey, 1989. http://dx.doi.org/10.3133/b1759b.

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Geologic maps of the Fiddler Butte Wilderness Study area and the Fremont Gorge Study Area, Garfield and Wayne counties, Utah. US Geological Survey, 1985. http://dx.doi.org/10.3133/mf1755b.

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Mineral resource potential maps of the Fiddler Butte Wilderness Study Area and the Fremont Gorge Study Area, Garfield and Wayne counties, Utah. US Geological Survey, 1985. http://dx.doi.org/10.3133/mf1755a.

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