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| The historical and musical context | ||
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Amateur musicians took their violins with them when they left the British Iles for the New World. In the South, the colonists tried to replicate the refined lifestyle of English country manors. Plantations often employed "dancing masters" so that the colonists wouldn't " revert to barbarism in the wilderness . " << to hear the music, click right , then "play". |
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| The
musical voyage of BEN'S CANOE demonstrates the similarities between
17th century popular English melodies for violin, and Appalachian mountain
fiddle tunes.
In England, dance music has always been an oral tradition. Nevertheless, the great popularity of dance tunes in the 17th and 18th centuries led to a market for printed music. The English Dancing Master, published in 1651, and reprinted many times thereafter, contain over 500 melodies (English, Irish and Scottish) for violin. We have chosen 2 of these tunes for the beginning of our show, which takes place in England.
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| So,
the British Isles dance tunes for violin came across the ocean, but the
way they were played (and new ones invented) on the southern coast and in
the Appalachian mountain regions evolved to the various styles of "southern
old-time fiddling". Throughout BEN'S CANOE, Polo Burguière
plays like a West Virginia fiddler.
Along with the music, the Appalachian colonists brought their dance forms to America. On the plantations, English country dancing (couples in long lines) was practised, and in the mountains, heavily populated by Scotch-Irish settlers, " step dancing " (solo dance improvisations to fast fiddle tunes) was popular. In Ireland, step dancing is done up on the toes, body straight and arms straight down at the sides. In the Appalachian mountains, the dancers have relaxed postures and, basically, the feet flat on the ground. Our puppet Ben (and his mom) do a little demonstration of this energetic and joyful dancing.
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