Annotation:Wullafjord: Difference between revisions
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"In my own experience as a fieldworker in the sub-arctic region of Canada, my playing of the Shetland tune ‘Wullafjord’ (also discussed in depth later in this article) to Cree fiddle players in the town of Moose Factory, northern Ontario, immediately gave rise to the response that the tune sounded like an Inuit melody. After some research into the James Bay repertoire, I also came across the tune ‘Log Cabin’, written by fiddler James Stewart of Chisasibi, which bears notable similarities to ‘Wullafjord’ in terms of phrasing and structure | "In my own experience as a fieldworker in the sub-arctic region of Canada, my playing of the Shetland tune ‘Wullafjord’ (also discussed in depth later in this article) to Cree fiddle players in the town of Moose Factory, northern Ontario, immediately gave rise to the response that the tune sounded like an Inuit melody. After some research into the James Bay repertoire, I also came across the tune ‘Log Cabin’, written by fiddler James Stewart of Chisasibi, which bears notable similarities to ‘Wullafjord’ in terms of phrasing and structure"<ref>F. Wilkins, "Da Merry Boys O Greenland: | ||
Explorations into the Musical Dialogue of Shetland’s Nautical Past", Folk Music Journal , vol. 11 , no. 2, 2017. </ref>. | |||
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Revision as of 22:48, 12 September 2019
"In my own experience as a fieldworker in the sub-arctic region of Canada, my playing of the Shetland tune ‘Wullafjord’ (also discussed in depth later in this article) to Cree fiddle players in the town of Moose Factory, northern Ontario, immediately gave rise to the response that the tune sounded like an Inuit melody. After some research into the James Bay repertoire, I also came across the tune ‘Log Cabin’, written by fiddler James Stewart of Chisasibi, which bears notable similarities to ‘Wullafjord’ in terms of phrasing and structure"[1].
- ↑ F. Wilkins, "Da Merry Boys O Greenland: Explorations into the Musical Dialogue of Shetland’s Nautical Past", Folk Music Journal , vol. 11 , no. 2, 2017.
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