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    The Semantic Index of North American, British and Irish
 traditional instrumental music with annotations, formerly known as
                          The Fiddler's Companion.
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Sieur Julien Dubuque.jpg
Dubuque

Played by : George Winston
Source : Soundcloud
Image : Leake Julien Dubuque, aka Little Night (1762-1810)

Dubuque

The Mississippi River city of Dubuque, Iowa, takes its name from Sieur Julien Dubuque, a French-Canadian who was one of the first white men to settle the area, which at that time was under the control of the Fox tribe of Native Americans and the Spanish monarchy. Dubuque dealt successfully with both, obtaining permission to mine lead in the latter 18th century. He befriended a local Mesquakie Chief named Peosta, and perhaps married his daughter, Potosa. Dubuque died in 1810 and was buried on a bluff overlooking the Mississippi River, just south of the town that bears his name. Interestingly, fiddler and musicologist Paul Tyler finds historical reference a man named Dubuque, a fiddler and dancer in M.M. Hoffman's Antique Dubuque: 1793-1833:

Naturally one would expect that such a wealthy and powerful personage would make somewhat of an impression on the inhabitants of the little city of St. Louis when he visited there. And such was the case. Antoine Soulard, who became the Surveyor General for the district of Upper Louisiana in 1795, was the friend and business representative of Dubuque at St. Louis. His son, James G. Soulard, born in 1798, in later years moved to Galena and there resided as a prominent citizen for many years. This pioneer had the good fortune to meet Dubuque and he has left with us perhaps the best picture obtainable of the great Miner of the Mines of Spain. He described Julien Dubuque as he appeared in middle life, as "a man below the usual stature, of black hare and eyes, wiry and well-built, capable of great endurance and remarkably courteous and polite, with all the suavity and grace of the typical Frenchman. To the ladies he was always the essence of politeness." Mr. Soulard well remembered that on the occasion of one of Dubuque's visits, a ball was given in his honor, attended by all the prominent people of the place. It was held in a public hall, in the second story of a building, and he as a small boy had crowded in to see the sights. At one point of the festivities the Sieur Dubuque took a violin from one of the performers and executed a dance to the strains of his own music, which was considered a great accomplishment, and was received with tremendous applause.



...more at: Dubuque - full Score(s) and Annotations


X:1 T:Dubuque M:C| L:1/8 K:D A,B,DE D2 DE|FABF A4|BAdA BAFE|1 DEFD ED B,:|2 DFED D4|| F A2 F A2 BA|FE D2 B,2 D2|A B2 A B2 de|dBAG FG A2| F A2 F A2 BA|FE D2 B,2 DE|F2 FD EDB,G,|A,B,DE D4||

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Who Builds the TTA

Who Builds the TTA

Although we are not trained musicologists and make no pretense to the profession, we have tried to apply such professional rigors to this Semantic Abc Web as we have internalized through our own formal and informal education.
This demands the gathering of as much information as possible about folk pieces to attempt to trace tune families, determine origins, influences and patterns of aural/oral transmittal, and to study individual and regional styles of performance.
Many musicians, like ourselves, are simply curious about titles, origins, sources and anecdotes regarding the music they play. Who, for example, can resist the urge to know where the title Blowzabella came from or what it means, or speculating on the motivations for naming a perfectly respectable tune Bloody Oul' Hag, is it Tay Ye Want?
Knowing the history of the melody we play, or at least to have a sense of its historical and social context, makes the tune 'present' in the here and now, and enhances our rendering of it.
Andrew Kuntz & Valerio Pelliccioni

Please register as a user to make the most of the many functions of the TTA, and enjoy the many ways that information about traditional tunes can be elicited and combined, from simple to complex situations. Users may make contributions, which, when reviewed by an editor, become part of this community project. Serious user/contributors may become editors through the TTA's autopromotion process, in which quantity and quality of entries allows increased levels of permission to edit and review the entire index.
Above all, the developers wish you joy in the use of the TTA.

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Navigation: Registered users can navigate the Traditional Tune Archive for information in a number of ways.

  • Search. The Search function is located at the top right, and can be used to search the entire index for any key word. See Search help pages
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  • Query the Archive. The “Query the Archive” function under “The Archive” in the sidebar can be used to draw down reports from the TTA in either in single items or in a number of combinations. One might, for example, use a single item query to run a report in the TTA for a particular composer/core source. Clicking on the arrow at the right of the bar draws down a list of composer/core sources, or one may be typed in. For example, clicking on “Bill Pigg” and then the “Run Query” tab at the bottom left will result in a list of all compositions listed in the TTA that the Northumbrian piper either composed or is the core source for. Reports may also be run in combinations, as, for example, by selecting “William Marshall” as a composer/core source, “Three Flats” for the number of accidentals, and “Major” for the Key/Mode. This will result in a report of all Eb Major compositions of Scottish fiddler/composer William Marshall that are indexed in the TTA.
  • Tune Books/Magazines in the TTA can be accessed under “Publications” in the left side bar. These are reproductions of publications for which access has been granted to the TTA by the copyright holder, under the Creative Commons license.