Great choice. Thanks Anthony.
On 2/1/12, Anthony Robb <anth...@robbpipes.com> wrote:
> Hello All,
>
> John Dally has kindly invited me to choose the TOTM for February and it is:
>
> The Keelman Ower Land
> This tune has been a favourite since 1973 when (according to Johnny
> Handle) Carole & I gave its first public airing in years. It is still
> yielding up its secrets 38 years on.
> 3/2 tunes are becoming more popular and widely established as shown by
> the following abstract from Stewart Hardy submitted to the North
> Atlantic Fiddle Convention (A" Cos go Cluas - trans. aEUR~from foot
> to ear') 2012
> I think it might be of interest to some:
> Working with Dinosaurs
> Triple-time Hornpipes
> Stewart Hardy
> The triple-time hornpipes of the British Isles suffered a dramatic
> reversal of fortune during the eighteenth century: initially one of the
> most widely played tune forms, at its end the decline was such that if
> "extinction" was not complete, then continued existence was "critically
> endangered". Not until the last quarter of the twentieth century was
> there a significant effort to reawaken interest in this type of tune. A
> wealth of fabulous material has been unearthed, containing great energy
> and appeal for performer and listener alike. Without an unbroken oral
> tradition and with the disappearance of dances associated with these
> tunes, there are significant challenges to developing historically and
> contextually informed interpretations. Clues are found in the surviving
> manuscripts and published collections, folk song and literary
> descriptions of village dance. Attempts to reconstruct the dances also
> provide illuminating material. Rediscovering and resurrecting
> triple-time hornpipes presents an opportunity to observe the shift from
> social process to aesthetic product in reverse - "from ear to foot"
> rather than "from foot to ear". In this paper I will explore these
> issues, demonstrate tunes and suggest some practical and well-founded
> solutions to problems of interpretation.
>
> --
>
>
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