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Learn more. The Pendulum Swing Faradic Fractal Patterns Bruce , Commentary on the Book of the Acts Eerdmans, , Mounce , The Book of Revelation Eerdmans, , Dictionary of Biblical Imagery. InterVarsity Press. Catechism of the Catholic Church. Retrieved 18 January Hurtado, Larry , Lord Jesus Christ.
Language of Jesus. Bibliography Artworks statues Films. Namespaces Article Talk. Views Read Edit View history. Help Community portal Recent changes Upload file. Download as PDF Printable version. When it comes to trad, Scotland is very regional.
Also, I think our own perceptions can be influenced by your social group and the people you play with. Certainly I know that in my part of the world pretty much all the sessions are tune led, though the odd song is welcome. Songs seem to fit better at ceilidhs, folk clubs etc, in relation to sessions as pub sessions can be noisy and not always the best environment for songs.
Not always, but often in my experience. The North East, there is still a strong fiddle and accordion element which spills over into the sessions. It seems prominent at Keith Festival these days and, I believe, the likes of Kirriemuir. So that would include fiddle societies, Scottish Dance band musicians and so on. Kenny, you say "Not at all true" but, perhaps, you just avoid these types of session? I think that these different experiences go to show that "Instrumental Folk Revival in Scotland" is a bit of a misnomer.
There are a lot of sessions in most parts of Scotland of the type which Kenny And to be honest, so do I prefers where you will encounter good Scottish and, often, Irish traditional music.
The OP was about the beginnings of instrumental revival, but we seem to be talking more about recent years. Having first got interested in STM in the s, my impression is that before that and to some extent afterwards, instrumental music was played and heard by three or four very diverse constituencies who rarely had much to do with each other.
The way most people heard music was at Scottish Country Dancing or ceilidhs or radio broadcasts of Jimmy Shand, Ian Powrie and the like , and that music was dominated by accordions and pianos.
There was quite a big overlap with Fiddle and Accordion clubs and Strathspey and Reel societies. By contrast, piping took place in pipe bands, the army or among solo pipers and pipers hardly ever played with other instrumentalists. There were areas e. Shetland and the Western Isles were the music scene was more integrated, but by and large my impression is that things were very divided.
When it started the folk scene had scarcely any connection with piping or dance music. It was very influenced by the American folk revival and Irish groups like the Dubliners and the Clancy Brothers.
Music in the folk clubs was predominantly songs, and I think that is what audiences mostly wanted. Commercial groups e.
Corries, McCalmans and others mostly sang songs, and though they might have the odd mandolin or fiddle it was mostly to add a bit of variation to what was predominantly guitar accompaniment.
A major change came in the s when bands came along who integrated other melody instruments like pipes, fiddle, clarsach, whistle, flute and so on into their repertoire. It helped that pipers who had received traditional training were willing to join other instrumentalists but now had other instruments available like chamber pipes, Lowland pipes, or smallpipes, that did not drown out other instruments.
A later development was when Silly Wizard and Ally and Phil showcased the accordion, an instrument which had often been despised by many folkies.
The competitions for instrumentalists really encouraged many players to come out and play in public, and often stay on for sessions. So I think that fifty years on there are far more connections and influences between what were once disparate strands of music.
Good post, Borderer. A little similar to my first post but much more comprehensive. Sums things up up very well. Thanks, Johnny Jay. I agree with everything you said in your previous post. I just wanted to flesh things out a bit and add a couple of things from my own experience. I do disagree with this statement, however , and I stress that this is only my own experience : "So I think that fifty years on there are far more connections and influences between what were once disparate strands of music".
An Orchestra of Opportunities. Along with the Summer Jazz Improv and Composers Workshop, NYU Steinhardt instrumental programs also offered the following virtual opportunities: The Summer Brass Workshop : A five-day program for students 16 years of age or older with sessions on practicing, concert preparation, breathing techniques, networking, and sight reading.
Led by members of two world-renowned quintets. The NYU Broadway Percussion Seminar : A four-day intensive program for students 16 years of age or older with sessions presented on drum set, percussion, mallet percussion, and Latin percussion. Led by top percussionists, contractors, and conductors working on Broadway. The NYU SummerStrings Workshop : A day program featuring private lessons, daily seminars, and masterclasses for serious violinists, violists, cellists, and bassists 12 years of age or older.
The Broadway Winds Intensive : A four-day program geared toward advanced high school and college-level woodwind players. Led by NYU Steinhardt professionals who have dedicated their career to the art of woodwind doubling.
Students also prepare and participate in virtual masterclasses led by woodwind doublers of current Broadway shows.
Join us for sessions on harmony, conducting for teachers, working with beginners, Kodaly, The Session (Instrumental), improvisation and much more…. Mike Outram video. The Session (Instrumental) in the folk clubs was predominantly songs, and I think that is what audiences mostly wanted. Recollection The heavenly session was important to The Session (Instrumental) writers of the New Testament. Adults, please sign up as adult learner. Want to hear the insanity without Stephen's vocals? Karl Barth says that the session of Christ is "the first and the last thing that matters for our existence in time," and that. Although there were a few technical hiccups, Pietro says the workshop flowed smoothly.
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