All genres of music offer an opportunity for what might be called theatrical expression – the conveyance of emotion that goes beyond the mere notes. This expression can be suggested in written music with dynamic indicators (ff for fortissimo for example), and with arrangements of harmonies and voicing. But truly dramatic playing comes from spontaneous execution, and spontaneous response to such execution, which leaves listeners feeling that the piece has never quite been rendered that way before, and never will be again. Traditional music, which in many cases was created without specific musical notation detail, and without specifically designated instrumentation, lends itself to the exploration of dramatic playing.

In this workshop we will spend the first half playing familiar pieces, experimenting with various rhythmic devices ranging from tapping instruments to create a percussive background, to playing just the opening notes of each measure, plus much more. The second half of the workshop will be an experiment in finding harmonies. Music readers will be encouraged not to rely on written harmonies, but to listen to the melody and use instinct to make note choices. The workshop wraps up by combining these rhythm and harmony explorations (time permitting).

To see and hear Kristan, and the other finalists, click here. The competition includes singers as well as accordionists, harpers, and pipers.

This prestigious award “recognizes a New Hampshire traditional folk artist who has made a significant contribution to his or her art form and to his or her cultural community, reflecting a lifetime of achievement.” Sylvia’s selection marks the first time that this award has gone to a woman.

Sylvia’s lifetime of teaching music and dance spans six decades. This award recognizes her many contributions to the New Hampshire folk music and dance community, from playing with the Canterbury Country Dance Orchestra to being a founder of the Strathspey and Reel Society of New Hampshire.

The Governor’s Arts Award program ran every two years from 1995 until 2007, but skipped 2009. This year’s awards are the first issued since 2007. The awards ceremony takes place on April 27 at the State House in Concord.

SRSNH members send out a hearty congratulatory “Huzzah!” to Sylvia!

Could that be true? A visit to the closet to pull out a kilt made with the New Hampshire tartan launched an inspection and comparison of the two plaids. Lockhart’s tartan, according to the CD’s liner notes, “..is from the Ayrshire District, which contains the Lockhart family clan.” Both tartans feature alternating panels of green and purple, separated by white lines.

Looking more closely, however, you can see a yellow double line through some panels of Lockhart’s tartan. And, an occasional blue panel that almost looks green. Definitely different from the New Hampshire design.

A database search revealed that Lockhart indeed was wearing the Ayrshire District tartan (left photo) in that CD picture. One wonders why he did not wear the Lockhart tartan (right photo). Likely, the costume shop did not have that tartan available.

Ah, the subtleties of tartan. It makes you wonder how they were able to recognize each other in the field!

Learn more about the earliest roots of the traditional roots of the music of Scotland by perusing these sources.