Nick,



This certainly interests me. I have been involved in a number of funded

AHRC projects involving music and sound archaeology, as well as the EU

funded European Music Archaeology Project. My main research interests are

in popular music, and I am of course aware of the use of the Hurdy Gurdy

in British folk music tradition, it is an instrument I have always liked.



I am a composer, musician and performer, but also producer and sound

recordist. There are many ways I could contribute to such a project. I

have also worked in app, interactive and web development.



Cheers



Rupert



Dr. Rupert Till MA FHEA

Senior Lecturer in Music Technology

Director of the Popular Music Studies Research Group

European Music Archaeology Project Huddersfield Co-organizer Contact

01484 472141

[log in to unmask] <mailto:[log in to unmask]>

http://www.hud.ac.uk/ourstaff/profile/index.php?staffuid=smusrt

http://rupertchill.wordpress.com

Department of Music and Drama

University of Huddersfield | Queensgate | Huddersfield | HD1 3DH













On 04/04/2014 12:31, "Nick Groom" <[log in to unmask]> wrote:



>The Devil’s Lyre, also known as the hurdy-gurdy, vielle à roue, cymbal,

>drehleier, rota, tekerőlant, zanfona, organistrum, lira, relia, and by

>many other names has one of the longest continuous traditions in European

>music. It originated around the tenth century and its basic – and

>innovative – design remains to this day. During its chequered history the

>hurdy-gurdy has been associated with troubadours and minstrels, beggars

>and shepherds, and the Church, the Dance of Death, and the Court. Its

>eerie music accompanied mediaeval ballads and sacred hymns, and dance and

>magic lantern shows; it was evoked by Schubert in his Lieder, and echoes

>through M. R. James’s ghost story ‘Lost Hearts’. Yet the history and

>influence of this instrument on regional and national identity, on folk

>traditions and revivals, has yet to be properly researched.

>

>I would like to make contact with European partners who would be

>interested in contributing to a project on the tangible and intangible

>culture of this instrument, from the Middle Ages to the present day.

>Areas of shared endeavour might include history and technology; visual

>depictions; literature, drama, and popular culture; national and migrant

>traditions; and regional and national traditions of music, playing, and

>performance.

>

>Prof. Nick Groom, MA, DPhil, FRSA,

>Dept of English,

>University of Exeter, UK.



This transmission is confidential and may be legally privileged. If you receive it in error, please notify us immediately by e-mail and remove it from your system. If the content of this e-mail does not relate to the business of the University of Huddersfield, then we do not endorse it and will accept no liability.