Search results
Results From The WOW.Com Content Network
Early influences were Irish, Scottish, and English fiddle styles, as well as the more upper-class traditions of classical violin playing. Popular tunes included "Soldier's Joy", for which Robert Burns wrote lyrics, and other tunes such as "Flowers of Edinburgh" and "Tamlin," which have both been claimed by both Scottish and Irish lineages.
Scotland has influenced Donegal fiddling in various ways. Workers from Donegal would go to Scotland in the summer and bring back Scottish tunes with them; Donegal fiddlers have used Scottish tunebooks and learned from records of Scottish fiddlers like J. Scott Skinner and Mackenzie Murdoch.
Reflecting the cultures that settled North America, the roots of old-time music are in the traditional musics of the British Isles, [2] Europe, and Africa. African influences are notably found in vocal and instrumental performance styles and dance, as well as the often cited use of the banjo; in some regions, Native American, Spanish, French and German sources are also prominent. [3]
Irish, Scottish and Welsh music have long been a major part of American music, at least as far back as the 18th century.Beginning in the 1960s, performers like the Clancy Brothers became stars in the Irish music scene, which dates back to at least the colonial era, when many Irish immigrants arrived.
Gow was born in Strathbraan, Perthshire, in 1727, as the son of John Gow and Catherine McEwan.The family moved to Inver in Perthshire when Niel was an infant. He started playing the fiddle when very young, and at age 13 received his first formal lessons from one John Cameron of Grandtully.
Fiddle: Fiddlers: History: Musical styles: ... overlap with the list of violinists since the instrument used by fiddlers is the fiddle. ... Scottish, Texas style ...
In the late 1800s and early 1900s when golf was taking root in the United States, young men from Scotland who knew the game found opportunity in America to foster the game’s growth.
"Flowers of Edinburgh" is a traditional fiddle tune, of eighteenth century Scottish lineage. It is also prominent in American fiddle , Canadian fiddle and wherever old time fiddle is cultivated. The tune is also the basis for a Morris Dance , in the Bledington style.