The Role of the Violin in Two of the Musical Folk Traditions of Trinidad and Tobago
The role of the Violin in Two of the Musical Folk Traditions of Trinidad and Tobago. By Janelle Xavier
Research Project Proposal: The role of the Violin in 2 of the Musical Folk Traditions of Trinidad and Tobago.
By Janelle Xavier
Proposal Descriptions:
This research paper compiles primary and secondary data from interviews with violinists who work or have worked specifically in folk music in the Trinidad and Tobago. It seeks to investigate and document the reasons for and the importance of the violin in Caribbean music culture. The paper will also seek to notarise some elements of folk violin pedagogy. The report will form the basis of an electronic blog and will consist of a proposal, typed interviews, and a general list of interview questions, pictures, audio recordings and music scores. Project Rationale: 1. Cultural information transmitted through written word and musical scores can lose much of their meaning and intent when read, because of the nuisances of both language and melody. For instance, when most ethnic musical styles are notated using the standard begun outside of their context, they are usually played without their correct ‘swing’ or ‘feel’. 2. In November 2011, St. Lucian folk violinist Joseph Ives Simeon died at 87, taking a rich violin pedagogy with him. The player has many recordings, but much of his style died with him. This project is the beginning of this researcher’s (and classical string player from the Caribbean) attempt to preserve the pedagogical information inherent only in the different styles of Caribbean string folk playing, for use by Caribbean players. Objectives: 1. To audio record the sounds and actions of violin playing in the Caribbean folk context. 2. To document the musical views and ideas of current exponents of Caribbean folk violin playing. 3. To define the role of the violin in varying Trinbagonian folk traditions 4. To chart the evolution of the roles of
Research Project Proposal: The role of the Violin in 2 of the Musical Folk Traditions of Trinidad and Tobago.
By Janelle Xavier
Proposal Descriptions:
This research paper compiles primary and secondary data from interviews with violinists who work or have worked specifically in folk music in the Trinidad and Tobago. It seeks to investigate and document the reasons for and the importance of the violin in Caribbean music culture. The paper will also seek to notarise some elements of folk violin pedagogy. The report will form the basis of an electronic blog and will consist of a proposal, typed interviews, and a general list of interview questions, pictures, audio recordings and music scores. Project Rationale: 1. Cultural information transmitted through written word and musical scores can lose much of their meaning and intent when read, because of the nuisances of both language and melody. For instance, when most ethnic musical styles are notated using the standard begun outside of their context, they are usually played without their correct ‘swing’ or ‘feel’. 2. In November 2011, St. Lucian folk violinist Joseph Ives Simeon died at 87, taking a rich violin pedagogy with him. The player has many recordings, but much of his style died with him. This project is the beginning of this researcher’s (and classical string player from the Caribbean) attempt to preserve the pedagogical information inherent only in the different styles of Caribbean string folk playing, for use by Caribbean players. Objectives: 1. To audio record the sounds and actions of violin playing in the Caribbean folk context. 2. To document the musical views and ideas of current exponents of Caribbean folk violin playing. 3. To define the role of the violin in varying Trinbagonian folk traditions 4. To chart the evolution of the roles of
References: [ 5 ]. Albums focused on: Calypso - Best of Trinidad 1912-1952 (list at http://www.rhyners.com/proddetail.php?prod=0508);