Template:Featured Tune: Difference between revisions

Latest revision as of 17:08, 8 June 2019

On November 24, 1874, Joseph F. Glidden of DeKalb, Illinois, was granted a patent for fencing material consisting of barbs wrapped around a single strand of wire and held in place by twisting that strand around another. His original double-strand design, the Winner, lived up to its name; it is the most commercially successful of the hundreds of eventual barbed wire designs. Glidden was also the winner in a welter of litigation that reached all the way to the Supreme Court after some dozen other inventors claimed legal priority. Barbed wire was not immediately successful in Texas and elsewhere, especially with smaller cattle ranchers who depended on an 'open range' to sustain their operations. Their opposition led to the barbed wire conflicts of the 1880's, but eventually the ranges were fenced off. Although open range became a thing of the past, barbed wire helped cattlemen to breed herds in protected environments, thus negating the reliance on long-horned cattle that were more suitable to the open range.

TEXAS BARBED WIRE full Score(s) and Annotations and Past Featured Tunes

Played By: Jon Bekoff

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+<p><font face="sans-serif" size="3">
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-[[File:TheDevil%27sDream.gif|350px|thumb|left|link=|Bisbee, Jasper "Jep." "The Opera Reel (with calls)." Edison 51278. 78 RPM. 1923.]]
+[[File:barbed.jpg|300px|thumb|left|Fenced In, by Bonnie Bruno]]
-Bayard (1981) did not find it in any collection older than the early 19th century (however, earlier printings did exist--see below). According to Linscott (1939) the tune "was fitted for a contra dance performed on the stage." Bronner (1987) thinks there may be stage origins for the tune on the strength of his observation that "besides producing light operas, popular theaters and chautauquas often did vernacular versions or even parodies of opera," though he admits the tune sounds Scottish or Irish. Apparently as another speculation, he also suggests the "operatic" triplet pattern in the third part "probably suggested the name of 'Opera Reel' in its early forms." There is also a rumor floating about the the reel is made up of strains from different French operas, although this appears to be completely erroneous. Tony Parkes and Steve Woodruff (1980) state the tune was an early 19th century American melody likely modeled on the multi-part Irish and Scottish reels of the 18th century and was particularly popular in the 1850's. Indeed, the "Opera Reel" appears in the 1823 music manuscript book of H. Canfield (Hartford, Conn.), '''A Choice Selection of Flute Melodies'''.
+On November 24, 1874, Joseph F. Glidden of DeKalb, Illinois, was granted a patent for fencing material consisting of barbs wrapped around a single strand of wire and held in place by twisting that strand around another.  His original double-strand design, the Winner, lived up to its name; it is the most commercially successful of the hundreds of eventual barbed wire designs. Glidden was also the winner in a welter of litigation that reached all the way to the Supreme Court after some dozen other inventors claimed legal priority. Barbed wire was not immediately successful in Texas and elsewhere, especially with smaller cattle ranchers who depended on an 'open range' to sustain their operations. Their opposition led to the barbed wire conflicts of the 1880's, but eventually the ranges were fenced off.  Although open range became a thing of the past, barbed wire helped cattlemen to breed herds in protected environments, thus negating the reliance on long-horned cattle that were more suitable to the open range.
-<br>
-<br>
-Despite the tune's profound association with New England contra dancing, an American claim of provenance (or even partial provenance) is not supported by the evidence. "Opera Reel" was published in Dublin in 1795 in a gentleman's literary journal called '''Walker's Hibernian''', and around the same time by Dublin publisher T. Cooke in '''Tracy’s selection of the present favorite country dances''' (c. 1795). Anne Loughran and Vic Gammon's '''Sussex Tune Book''' (English Folk Dance and Song Society, 1982) contains what may be a cognate or ancestral melody under the title "[[Duke of Cornwall's Reel|The Duke of Cornwall's Reel]]," sourced from a manuscript music book compiled by William Aylmore of West Wittering (Sussex, England). Aylemore was a clarinet player whose book contains dance, military and religious music and is dated 1796 in one place and 1818 in another.
-<br>
-<br>
-In New Hampshire the tune was used for the dance Boston Fancy or Lady Walpole's Reel, as well as the dance also called The Opera Reel [http://www.izaak.unh.edu/dlp/NorthernJunket/pages/NJv01/NJv01-01/NJv.01.01.p16.htm]. Directions for the dance were printed in
-H.G.O. Washburn's '''The Ball-Room Manual of Contra Dances and Social Cotillons''' (Belfast, Maine, 1863):
-<blockquote>
-''OPERA REAL.   80 Steps.''<br>
-''Note. – Form sets of five or six couples only in each. First couple balance, down the centre to foot of set--second couple'' ''balance, down to foot of set--four right and left at foot--both couples up the centre, first couple down outside and remain''
-''at the foot.''
-</blockquote>
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-[[Annotation:Draper%27s_Gardens_(1)|DRAPER'S GARDEN full Score(s) and Annotations]] and [[Featured_Tunes_History|Past Featured Tunes]]
+[[Annotation:Texas_Barbed_Wire|TEXAS BARBED WIRE full Score(s) and Annotations]] and [[Featured_Tunes_History|Past Featured Tunes]]
+[[File:Texas barbed wire g.mp3|left]]
+{{break}}
+*Played By: Jon Bekoff
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-T:The Opera Reel
+X:1
+T:Texas Barbed Wire
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-R:Reel/Country Dance
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-DD/D/ DG FEFA|DD/D/ DF EDEF|DD/D/ DG FEFA|BdAF E2E2:|
+K:G
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-afaf gege|fdfd ecBA|afaf gege|fbac d2d2|
+DD +slide+BA BcBG-|DD BA BdBG|AFAB cBAc|BG[GB][GB][G2B2]:|
-Ddfd Eebg|Aceg fdfd|Ddfd Eege|fbac d2d2||
+Bc|dg[dg]f gfga|b2g2- gg-fg|abag fefg|a2f4Bc|
+dg[dg]f gfga|b2g2- ge-fg|abae- fd[d2f2]|1 [B3g3][Bg] [Bg]dBc:|2[B3g3][Bg] [Bg]:|
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