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From Robert James Waller comes a wonderful collection of 19 essays--all of them as romantic, reflective, and timeless as readers have come to expect from the author of The Bridges of Madison County--a celebration of life and loss, of what things still can be.
Michael Kilgarriff's compilation of some 20,000 popular song titles, 1860-1920, provides for the first time in one volume answers to the questions which excite Music Hall and popular song enthusiasts more than anything in life: who wrote what and when, and who sang it? The criteria for a song's inclusion are popularity, topicality, and significance in the career of its singer. Also included are titles still remembered and performed, for it is at today's Music Hall performers and producers that these checklists are primarily aimed. The non-active enthusiast and the casual enquirer will also find much of value herein, if only because the information offered is not readily available elsewhere. Many specialist libraries and collections are not open to the public. The importance of Sing Us One of the Old Songs is to bring much previously inaccessible material within general reach.
It’s really great. It’s like they’re all here. I hear all of these voices and I sing with them, you know? — Yikliya Eustace Tipiloura, senior songman and Elder Perhaps the most defining feature of Tiwi song is the importance placed on the creative innovation of the individual singer/composer. Tiwi songs are fundamentally new, unique and occasion specific, and yet sit within a continuum of an oral artistic tradition. Performed in ceremony, at public events, for art and for fun, songs form the core of the Tiwi knowledge system and historical archive. Held by song custodians and taught through sung and danced ritual, generations of embodied practice are still being created and accumulated as people continue to sing. In 2009 Genevieve Campbell and eleven Tiwi colleagues travelled to Canberra to reclaim over 1300 recordings of Tiwi songs, made between 1912 and 1981, that are held in the archives at the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS). The Old Songs are Always New explores the return home of these recordings to the Tiwi Islands and describes the musical and vocal characteristics, performance context and cultural function of the twelve Tiwi song types, giving an overview of the linguistic and poetic devices used by Tiwi composers. For the past 16 years Campbell has been working closely with Tiwi song custodians, studying contemporary Tiwi song culture in the context of the maintenance of traditions and the development of new music forms. Their musical collaboration has resulted in public performances, community projects and recordings featuring current senior singers and the voices of the repatriated recordings. For this publication, Elders have enabled the transcription of many song texts and melodies for the first time, shedding light on how generations of Tiwi singers have connected the past with the present in a continuum of knowledge transmission and arts practice.
Alexander's Ragtime Band * Danny Boy * Ida, Sweet As Apple Cider * Look For The Silver Lining * My Melancholy Baby * A Pretty Girl Is Like A Melody * Smiles.
Originally published in 1977. Frances Tolmie (1840-1926) was one of the foremost Gaelic folklore and folksong experts. This account of her life and work places her unique contribution to human song against a full personal, historical and cultural background. The book includes a selection of the songs she heard and wrote down, together with the part they played in her life and that of her circle and the larger community. Moving in a variety of circles, Frances Tolmie experienced the warm domesticity of an enlightened Skye manse, the cultural bustle of upper middle-class Edinburgh ‘entrepreneurs’, the romantic serious-mindedness of the first Cambridge women students, the sensitive nature-loving community round Ruskin at Coniston, and spent her later sociable years back in Scotland. This book, with its historical introduction by Flora MacLeod and musical introduction by Frank Howes along with Ethel Bassin's own detailed introduction, reflects her profound study of the song and folklore of her people, and describes how she recorded a precious part of British traditional culture, catching it alive and sharing it as truly as possible.
A true, no holds barred account of a family living with dementia, frustration, love and heartbreak and a welfare system that let them down.In a busy world it’s easy to miss the decline of cognitive function in an elderly person; easy to judge it as slight confusion; easier still to ignore it completely – until suddenly, without warning, it explodes into your life. For John Walsh’s family, that’s exactly what happened; his parents’ 60 years of togetherness were suddenly no more. Now they, as a family, were dependent on others; reliant on Britain’s welfare system. What happened next was shocking and devastating.Eighteen months of social services, doctors, hospitals, care homes and frustration. No chance of a happy ending; absolutely no light leading to the end of the tunnel. Just darkness and injustice.John was horrified by what happened to his parents, shocked by the lack of support for them, as he struggled to reconcile himself to a welfare system in which pensioners are forced to sell their homes to fund depressingly poor standards of care, whilst young men who’ve never worked a day in their lives, happily stand at the bar drinking their way through hundreds of pounds worth of benefits.There are almost a million people living with dementia in Britain today. That number will double within the next 20 years. Forty-two percent of the population are affected by the disease in one way or another, yet money allocated to its research accounts for just 2.5 percent of the funds available. What has gone so wrong?This is a dark story, told with the honesty of humour and the distress and turmoil of loss.
Originally published in 1977. Frances Tolmie (1840-1926) was one of the foremost Gaelic folklore and folksong experts. This account of her life and work places her unique contribution to human song against a full personal, historical and cultural background. The book includes a selection of the songs she heard and wrote down, together with the part they played in her life and that of her circle and the larger community. Moving in a variety of circles, Frances Tolmie experienced the warm domesticity of an enlightened Skye manse, the cultural bustle of upper middle-class Edinburgh ‘entrepreneurs’, the romantic serious-mindedness of the first Cambridge women students, the sensitive nature-loving community round Ruskin at Coniston, and spent her later sociable years back in Scotland. This book, with its historical introduction by Flora MacLeod and musical introduction by Frank Howes along with Ethel Bassin's own detailed introduction, reflects her profound study of the song and folklore of her people, and describes how she recorded a precious part of British traditional culture, catching it alive and sharing it as truly as possible.