Exhibit: "Michigan-I-O": Alan Lomax and the 1938 Library of Congress Folk-Song Expedition"

In 1938, a young folk music collector named Alan Lomax—destined to become one of the legendary folklorists of the 20th century recorded Michigan’s richly varied folk music traditions for the Archive of American Folk-Song at the Library of Congress. Michigan in the 1930s was experiencing a golden age of folksong collecting, as local folklorists mined the trove of ballads remembered by aging lumbermen and Great Lakes schoonermen. In addition to the ballads of these north woods singers, Lomax recorded a vibrant mix of ethnic music from Detroit to the western Upper Peninsula. The multimedia performance event Folksongs from Michigan-i-o combines live performance with historic images, color movie footage, and recorded sound from the Great Depression. Some of these materials haven’t been heard or seen by the general public for more than seven decades. The traveling exhibition Michigan Folksong Legacy: Grand Discoveries from the Great Depression brings Alan Lomax’s 1938 field trip to life through words, song lyrics, photographs, and sound recordings. Ten interpretive banners explore themes and each panel contains a QR code that links to related sound recordings from the Alan Lomax Collection at the American Folklife Center, Library of Congress.

Exhibit: "Michigan-I-O": Alan Lomax and the 1938 Library of Congress Folk-Song Expedition

In 1938, a young folk music collector named Alan Lomax—destined to become one of the legendary folklorists of the 20th century recorded Michigan’s richly varied folk music traditions for the Archive of American Folk-Song at the Library of Congress. Michigan in the 1930s was experiencing a golden age of folksong collecting, as local folklorists mined the trove of ballads remembered by aging lumbermen and Great Lakes schoonermen. In addition to the ballads of these north woods singers, Lomax recorded a vibrant mix of ethnic music from Detroit to the western Upper Peninsula. The multimedia performance event Folksongs from Michigan-i-o combines live performance with historic images, color movie footage, and recorded sound from the Great Depression. Some of these materials haven’t been heard or seen by the general public for more than seven decades. The traveling exhibition Michigan Folksong Legacy: Grand Discoveries from the Great Depression brings Alan Lomax’s 1938 field trip to life through words, song lyrics, photographs, and sound recordings. Ten interpretive banners explore themes and each panel contains a QR code that links to related sound recordings from the Alan Lomax Collection at the American Folklife Center, Library of Congress.

Particle flux determined from traps in the Canary Island region

We present a 3 year record of deep water particle flux at the recently initiated ESTOC (European Station for Time-series in the Ocean, Canary Islands) located in the eastern subtropical North Atlantic gyre. Particle flux was highly seasonal, with flux maxima occurring in late winter-early spring. A comparison with historic CZCS (Coastal Zone Colour Scanner) data shows that these flux maxima occurred about 1 month after maximum chlorophyll was observed in surface waters in a presumed primary source region 100 km * 100 km northeast of the trap location. The main components of the particles collected with the traps were mineral particles and carbonate, both correlating strongly with organic matter sedimentation. Mineral particles in the sinking matter are indicative of the high aeolian input from the African desert regions. Comparing particle fluxes at 1 km and 3 km depth, we find that particle sedimentation increased substantially with depth. Yearly organic carbon sedimentation was 0.6 g m**-2 at 1 km depth compared with 0.8 g m**-2 at 3 km. We hypothesize that higher phytoplankton biomass observed further north could be a source of laterally advecting particles that interact with fast sinking particles originating from the primary source region. This hypothesis is also supported by the differences in size distribution of lithogenic matter found at the two trap depths.

Local variability of serotinous cones in a Canary Island pine (Pinus canariensis) stand

The endemic Canary Island pine (Pinus canariensis) has an effective strategy to counteract fire disturbance in the short term. It has a mixed strategy that combines the presence of serotinous cones and thick barks with the ability to re-sprout from the trunk after a fire, a rare trait in pine species. High frequency of fires in the Canary Islands is related to human action, as natural fires by lightning or vulcan activity have very low frequency; hence, the how and whys of the presence of serotinous cones in the species is still a topic of debate. Previous studies showed that the frequency of serotinous cones varies from stand to stand. Here, we analyzed the presence of serotinous cones at a local scale. We selected a Canary Island pine stand in the transition zone between dry and humid forests in the south of Tenerife. Branches were pruned from 20 trees in order to evaluate the presence of serotinous vs. non-serotinous cones by direct verticile counting on the branches. The opening temperature of serotinous cones was assessed in the laboratory. Percentages of serotinous vs. non-serotinous cones varied from 0 to 93 %, showing high variability between trees. Opening temperatures were very high (above 65 ºC) as compared to other Mediterranean pine species with serotinous cones

A common origin for woody Sonchus and five related genera in the Macaronesian islands: molecular evidence for extensive radiation.

Woody Sonchus and five related genera (Babcockia, Taeckholmia, Sventenia, Lactucosonchus, and Prenanthes) of the Macaronesian islands have been regarded as an outstanding example of adaptive radiation in angiosperms. Internal transcribed spacer region of the nuclear rDNA (ITS) sequences were used to demonstrate that, despite the extensive morphological and ecological diversity of the plants, the entire alliance in insular Macaronesia has a common origin. The sequence data place Lactucosonchus as sister group to the remainder of the alliance and also indicate that four related genera are in turn sister groups to subg. Dendrosonchus and Taeckholmia. This implies that the woody members of Sonchus were derived from an ancestor similar to allied genera now present on the Canary Islands. It is also evident that the alliance probably occurred in the Canary Islands during the late Miocene or early Pliocene. A rapid radiation of major lineages in the alliance is consistent with an unresolved polytomy near the base and low ITS sequence divergence. Increase of woodiness is concordant with other insular endemics and refutes the relictural nature of woody Sonchus in the Macaronesian islands.

Blue Ridge Music Center, Blue Ridge Parkway, North Carolina, Virginia : interpretive plan.

"NPS D-415"-- P. [3] of cover.

Vedda music /

"Reprinted from The Veddas by C.G. Seligmann and Brenda Z. Seligmann. Published by the Cambridge University Press"--Cover.

Journal of the Welsh Folk-Song Society. Cylchgrawn Cymdeithas Alawon Gwerin Cymru

Mode of access: Internet.

Northern Ute music /

Based on field work 1914; 1916.

Armenian Orchestral Music

Thesis (D.M.A.)--University of Washington, 2016-06

Bulgarian Folk Songs in a Digital Library

The paper presents the main results of an ongoing project aimed at the development of technologies for digitization of Bulgarian folk music and building a heterogeneous digital library with Bulgarian folk songs presented with their music, notes and text. An initial digitization and preservation of the Bulgarian cultural heritage starts by means of digitization and insertion into the library of over 1000 songs that were recorded and written down during the 60s and 70s of XX century. Also we present a full text search engine in a collection of lyrics (text of songs) and coded notes (symbolic melody). Some perspectives for future projects are also discussed.

Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables

In my thesis, “Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables,” I ask and answer the ‘Who? What? Where? When? Why?” of Creole Literature using the 19th century production of Aesopian fables as clues to resolve a set of linguistic, historical, literary, and geographical enigmas pertaining the ‘birth-place(s)’ of Creolophone Literatures in the Caribbean Sea, North and South America, as well as the Indian Ocean. Focusing on the fables in Martinique (1846), Reunion Island (1826), and Mauritius (1822), my thesis should read be as an attempt capture the links between these islands through the creation of a particular archive defined as a cartulary-chronicle, a diplomatic codex, or simply a map in which I chart and trace the flight of the founding documents relating to the lives of the individual authors, editors, and printers in order to illustrate the articulation of a formal and informal confederation that enabled the global and local institutional promotion of Creole Literature. While I integrate various genres and multi-polar networks between the authors of this 19th century canon comprised of sacred and secular texts such as proclamations, catechisms, and proverbs, the principle literary genre charted in my thesis are collections of fables inspired by French 17th century French Classical fabulist, Jean de la Fontaine. Often described as the ‘matrix’ of Creolophone Literature, these blues and fables constitute the base of the canon, and are usually described as either ‘translated,’ ‘adapted,’ and even ‘cross-dressed’ into Creole in all of the French Creolophone spaces. My documentation of their transnational sprouting offers proof of an opaque canonical formation of Creole popular literature. By constituting this archive, I emphasize the fact that despite 200 years of critical reception and major developments and discoveries on behalf of Creole language pedagogues, literary scholars, linguists, historians, librarians, archivist, and museum curators, up until now not only have none have curated this literature as a formal canon. I also offer new empirical evidence in order to try and solve the enigma of “How?” the fables materially circulated between the islands, and seek to come to terms with the anonymous nature of the texts, some of which were published under pseudonyms. I argue that part of the confusion on the part of scholars has been the result of being willfully taken by surprise or defrauded by the authors, or ‘bamboozled’ as I put it. The major paradigmatic shift in my thesis is that while I acknowledge La Fontaine as the base of this literary canon, I ultimately bypass him to trace the ancient literary genealogy of fables to the infamous Aesop the Phrygian, whose biography – the first of a slave in the history of the world – and subsequent use of fables reflects a ‘hidden transcript’ of ‘masked political critique’ between ‘master and slave classes’ in the 4th Century B.C.E. Greece.

This archive draws on, connects and critiques the methodologies of several disciplinary fields. I use post-colonial literary studies to map the literary genealogies Aesop; use a comparative historical approach to the abolitions of slavery in both the 19th century Caribbean and the Indian Ocean; and chart the early appearance of folk music in early colonial societies through Musicology and Performance Studies. Through the use of Sociolinguistics and theories of language revival, ecology, and change, I develop an approach of ‘reflexive Creolistics’ that I ultimately hope will offer new educational opportunities to Creole speakers. While it is my desire that this archive serves linguists, book collectors, and historians for further scientific inquiry into the innate international nature of Creole language, I also hope that this innovative material defense and illustration of Creole Literature will transform the consciousness of Creolophones (native and non-native) who too remain ‘bamboozled’ by the archive. My goal is to erase the ‘unthinkability’ of the existence of this ancient maritime creole literary canon from the collective cultural imaginary of readers around the globe.

The Canary record of the evolution of the North Atlantic Pliocene: New Ar-40/Ar-39 ages and some notable palaeontological evidence

[EN] Two new 40Ar/39Ar ages (*) and previously published K/Ar ages of basaltic pillow lava flows are coeval with closely-related fossiliferous marine layers, allowing us to establish the beginning (5.8; 5.0; 4.8Ma at Ajuí, Fuerteventura Island and 4.8±0.03Ma (2?)* at Tamaraceite) and a middle stage (4.20±0.18Ma (2?)* at La Esfinge in Gran Canaria Island) of Early Pliocene marine deposits in the Canary Islands. Here the presence of tropicopolitan fossils (Megaselachus megalodon, Janthina typica) suggests the influence of a possible Central American Circumtropical Current during the Pliocene and in the North Atlantic basin.

TROMBONE MUSIC OF SCANDINAVIA: A STUDY OF TROMBONE SOLO AND CHAMBER WORKS FROM SWEDEN, NORWAY, AND DENMARK

This dissertation project aims to establish Scandinavian trombone solo and chamber works as a major contribution to the trombone repertoire. From the late 19th century to modern day, Scandinavian composers have produced a steady output of trombone works of substantial musical quality. Deep-rooted in the traditions of strong military wind bands, Scandinavia has also produced an unusual number of trombone virtuosos, ranging from those holding positions in leading orchestras, and internationally renowned pedagogues, to trombonists enjoying careers as soloists. In this study I propose that it is the symbiotic relationship between strong performers and traditionally nationalist composers that created the fertile environment for the large number of popular trombone solo and chamber repertoire not seen in any other region besides the Paris Conservatory and its infamous test pieces. I also interpret the selected repertoire through the prism of nationalism and influence of folk music, and convey that the allure of the mystic Nordic folk influences enhances the appeal of the Scandinavian trombone repertoire to world-wide audiences and performers. The dissertation project was realized over three solo recitals, each showcasing the music of Sweden, Norway, and Denmark respectively. For each program, I looked to choose a standard work from the trombone solo repertoire, a work written for or by a native virtuoso, and a lesser-known work that warrants the attention of other performers for its musical qualities. The recital of Swedish music presented Mandrake in the Corner by Christian Lindberg, Subadobe by Frederik Högberg, A Christian Song by Jan Sandström, and Concertino for trombone and strings by Lars-Erik Larsson. The recital of Norwegian music presented Concerto for Trombone op. 76 by Egil Hovland, Ordner Seg by Øystein Baadsvik, Elegi by Magne Amdahl, and Concerto in F major by Ole Olsen. The recital of Danish music presented Rapsodia Borealis by Søren Hyldgaard, Madrigal by Bo Gunge, Romance for trombone and piano by Axel Jørgensen, Concerto for trombone by Launy Grøndahl, and Three Swedish Tunes by Mogens Andresen. Through the performance of works from these three countries, the dissertation establishes Scandinavia as a rich source of solo trombone repertoire perpetuated by nationalist composers and virtuosos, as well as providing a brief survey of Scandinavian trombone works of various instrumentation and difficulty levels to be enjoyed by student, professional, and amateur performers and their audience.