MÃÆ' Â © tis fiddle is a style that MÃÆ'Â © tis Canada and MÃÆ'Â © tis in the northern United States have been developed to play violin, solo and in people's ensembles. It is characterized by the use of percussion of bow and percussion accompaniment (such as percussion scoop). The Meti ( ; Canadian French: Ã, [me'ts? S] ; Michif: Ã, [m? 't ?? f] ) people combine First Nations, France, England, Celtic and other ancestors. Fiddles "was introduced in this area by Scottish and French-Canadian fur traders in the early 1800s".
Video Métis fiddle
​​ Summary
The MÃÆ'Ã… © tis is one of the Aboriginal tribes in Canada that traces their descendants into mixed European descent and First Nations. This term is historically a catcher of all that portrays the descendants of such unity, but within generations the culture united into what is now a distinct indigenous group with the same formal recognition that the Inuit and First Nations had. Mothers often Cree, Ojibwa, Algonquin, Saulteaux, Menominee, Mi'kmaq or Maliseet. At one time, a distinction was made between the French MÃ © tis (born of francophone voyageur father) and Anglo MÃÆ'Â tis (or "Countryborn "), was handed down from Scottish fathers. Today these two cultures form a single culture. Former names (many of which are now considered offensive) include Bois-BrÃÆ'ÂÂ »lÃÆ'Ã… © s, blood mix, half descendants, Bungi, Black Scots and Jackatars.
The MÃÆ'® tis homeland includes areas spread across Canada and parts of the northern United States (specifically Montana, North Dakota and northwestern Minnesota). Nearly 400,000 people identify themselves as MÃÆ'Ã… © tis in Canada. Most of the contemporary Món is no longer a direct result of the First and European Countries that married intermarriages other than Canadian English now is a direct result of the intervention of the Saxons and the British. The majority of MÃÆ'®tis who currently identifies themselves are the result of MÃÆ' Â © tis mating with Má Ã… © tis others. Over the last century, many MÃÆ'® tis were assumed to have been assimilated into the European-Canadian population, making the legacy of MÃÆ'Â © tis (and thus aboriginal ancestors) more common than those generally realized. Geneticists estimate that 50 percent of the current population in Western Canada has genuine blood, and will therefore be genetically classified as MÃÆ'Â © tis.
There is controversy over who qualifies as MÃÆ'Ã… © tis. Unlike the First Nations people, there is no difference between "status" and "non-status" MÃÆ'Ã… © tis; the definition of law has not been fully developed. S.35 of the Constitution Act, 1982 mentions the MÃÆ'Â © tis.
David Chartrand (president of Manitoba MÃÆ' Ã… © tis Foundation) was interviewed in a 2006 documentary by John Barnard, and emphasized that the tradition of MÃ Â © tis fiddle is an oral tradition that can not be taught in school. MÃÆ'Ã… © tis fiddling was analyzed by ethno-musicologist Lynn Whidden in the film; he documents that the meter can vary from size to measure and is very percussive. Players use their feet and choke on the bow to activate a very sharp "bite". Some players (such as Sierra Noble) play the violin in a modern (or mixed) style, combining Celtic or country-pop influences. Noble played a Celtic rock fusion in the Sierra Noble Trio, with Ariel Posen on guitar and Bruce Jacobs on bass.
In "A Note on MÃÆ' Â © tis Music" Whidden emphasizes on French Chanson and "Indian" style derivation, noting that they overlap and have become obscure. He demonstrates this theme as an infusion lyse as well, as in the song "Redj'Jan Shoes - White Men's Shoes": "I'm not red or white, I've been like this all my life". Citing personal communication, he points out that almost everyone in the community plays musical instruments; meetings are usually at home, due to the lack of large buildings; However, he also refers to the "weekly" dance.
Maps Métis fiddle
Form
Documented styles are European: polka, waltz, twostep, schottische, jig and square dance; however, the steps mingle with the dance of the First Nation. Chord progressions use complex harmonic structures, leaving the I-IV-V-I development of European derivative songs. The audience clapped, stepped on foot and danced to create an aural accompaniment.
Repertoire
The middle note is the Red River Jig, which is not really a jig but a reel. A local anecdote tells us that "the way to ride Mà © tis crazy is to nail moccasins onto the floor and play the Red River Jig.This dance involves prominent foot movements such as in Irish dance and has been brought to a high degree of dexterity.Phitras shows simultaneous violin playing and "jigging" in MÃÆ' © tis crossed in 2007 video clips available online.According to Lederman, this is the same as "La Grande Gigue Simple" or "La Grandeux" in QuÃÆ'  © bec, which is also found in Cajun playing. others he/she recognizes include Arcandsaw Traveler (an American version of the Arkansas Traveler American song), "Drops of Brandy" ("Le Brandy" in Quà © Ã… © bec), and "Devil's Reel ("Le Reel du Pendu" in QuÃÆ'  © bec). Other dances include Duck Dance, Square Dance and Drops of Brandy
MÃ < Â © tis violinist-style
- John Arcand
- Sierra Noble
- Calvin Vollrath
- Andy de Jarlis
- Patti Kusturok
- Michael Audette
- Reg Bouvette
- Erin Okrainec
- Lawrence "Teddy Boy" Houle
- Jamie Fox from Hays, Montana
- Brad "Chug" Morin from Hays, Montana
- Page Mike, Belcourt, North Dakota Turtle Mountain
- Joe Parisien, Belcourt, North Dakota Turtle Mountain
- Gabriel Brien, Belcourt, North Dakota Turtle Mountain
Source
- Lederman, Anne, 1987. "Old Native and MÃÆ' © tis Fiddling in Manitoba". Vol. L Toronto: Falcon Productions, 783A Queen Street West, M6J 1O1.
- Lederman, Anne. "Old Indian and MÃÆ'Ã… tis Fiddling in Manitoba: Origins, Structures, and Syncretism Questions". Canadian Journal of Traditional Music , 1991 (originally published in The Canadian Journal of Native Studies 7.2 (1988): 205-30).
- "Indian music and MÃÆ'Ã… © tis" I & amp; n (Kit). Winnipeg: Department of Education and Training Manitoba, Media Productions (1983).
- Whidden, Lynn. "How can you dance for Beethoven? Native people and country music". CUMR, 5, 1984.
- Whidden, Lynn. "Hymns in traditional Cree song". Recherches AmÃÆ'Â © rindiennes au QuÃÆ' Â © bec , vol 15 no 4, 1984.
References
Source of the article : Wikipedia
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