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~ Covering the Kingdom of Æthelmearc of the SCA

The Æthelmearc Gazette

Tag Archives: Music

You Don’t Hate the Bardic Arts; You Hate Bad Bards

03 Tuesday Feb 2015

Posted by aethgazette in Arts & Sciences, Music

≈ 6 Comments

Tags

A&S, Bardic, Music

by Gwendolyn the Graceful, Brehyres, Sylvan Bard.

Sylvan Bard,

Sylvan Bard, Baroness Gwendolyn the Graceful

Have you ever heard (or made) any of these statements?

“Oh, I am not really a ‘bardic arts’ type person.”
“I really don’t care for bardic.”
“Filk just isn’t my idea of fun.”
“The problem with bardic arts is that it’s all so bad.”

I’ve heard those statements (and similar sentiments) a LOT over the years.

Last Pennsic, I was lucky enough to have a great conversation with some amazing performers from Ansteorra. We got onto the topic of the bad reputation that the “bardic arts” gets in the SCA, and I pointed out that most of the time, what people really *mean* when they say one or more of the above statements, is not, actually, that they hate the Bardic Arts – or even that they don’t think the Bardic Arts have a place in the Society. What they mean are things like this:

“I’ve been scarred by bad performances.”
“Bards demand attention whether or not I’m willing to give it to them.”
“Performing artists are a disruption.”
“It’s all filk and out-of-period music. Silly Wizard ruins my Medieval experience!”

Along with the bad reputation, there’s also another component inherent in the allergy some people have to the “bardic arts” – it’s that as a Society, we are supposed to encourage the arts, or in terms that the bardic community itself has used, provide venue. This means that if a bard comes and performs at you, you’re supposed to listen and be appreciative, and sometimes that’s a disruption. It could mean suspending a conversation or waiting to speak to someone. It could mean having to sit through a story that seems to have no end. It could mean listening to a song that does not fit one’s mood, or to a singer who can’t seem to find her key with a two-handled bucket.

But I submit that, if you find yourself in the grip of these damaging experiences, then you are not a victim of the “bardic arts” themselves, but rather, an unwitting target of a Bad Bard, or worse, a Rude Bard.

Let’s go back to my conversation at Pennsic for a moment, because I want to be careful in defining a Bad Bard. There are actually *four* types of Bards in the SCA, as my Ansteorran friend pointed out: Beginning Bards; Learning Bards; Improving Bards; and Bad Bards. There may be overlap, but it’s important to recognize the major differences, in order to save any members of the first three categories from becoming forever a member of the fourth one. I’ll cover each one briefly in turn.

-Beginning Bards

Beginning Bards are usually new to the Society and possibly to the idea of performing altogether. They may have some background in theatre, or not, or they may have been told by someone that they had a good voice and should pursue being a bard, or they may have just decided this is something they’d like to try. Beginning bards usually have little to no real repertoire. The songs they do have are from pseudo-SCA-friendly sources, reflecting the type of stuff that probably attracted them to the SCA in the first place. Irish folk music, Stan Rogers, modern folk songs, the inevitable filk song, and for storytellers, shaggy dogs and no-kidding-there-I-was stories are the hallmark of a beginning bard.

Beginning bards are often beginning performers in general, so it’s to be expected that they may not have good control over their instruments, as well as their limited stash of material to get them through a circle. This means their pitch may wander; they may lack breath support or the ability to reach an entire hall with their voice. They may not have pieces memorized. They don’t have a well-developed sense of *when* their contributions are appropriate or not.

The beginning bard, above everything else, fears rejection. She fears to be told that her efforts are wholly inadequate and unacceptable. She is afraid her audience will dislike her, and afraid that her skills will meet with others’ discouragement.

What she craves is to be pointed toward material that will help her gain a foothold. Remember that the same music she’s performing may have been part of what disposed you toward the SCA, too! She may need some lessons in the proper use of her voice, or some gentle advice about how to practice so that she will not wander through different keys in the course of her presentation. But above all, she needs to practice to develop the confidence that will produce a learning bard.

-Learning Bards

Learning bards have taken their first steps toward correcting the most common mistakes of a beginning bard. They are building an appropriate repertoire, they have started working on breath, pitch, dynamics, and all the other nuances of a performance that captures its intended audience. They recognize that they still have a long way to go, however.

Learning bards are eager to find venues in which to practice. They are similar to the novice weaver or illuminator who brings work to any and every event, not only to pass the time but to actively seek others who can observe, critique, and encourage the work in progress. Learning bards need venue because they *know* they need to improve, but they don’t know *how* to improve. They’re dissatisfied with their performances–not because they receive only criticism, but because they see others’ performances and know they can do more and better, also.

A learning bard can practice all he wants at home, but without the feedback of performance, he can’t tell what works and what does not. He needs to learn to analyze his piece for its natural peaks, valleys, characters, and interpretation. He may need reminders about habits that he relies on, but which detract from his performance. Mostly, the learning bard is actively looking for ways to grow into an improving bard.

-Improving Bards

Improving bards have a solid repertoire, but are always looking for new pieces to learn or to explore. They have enough experience to know what pieces work well for their voice, style, persona, or otherwise “fit” into the rest of their material. They know how to separate their performance into “beats,” or sections, with emphasis on dramatic lows and highs. They prepare their pieces well and tend to workshop their work in friendly spaces to finalize it. They know how to alter, shorten, transpose, or otherwise tailor their repertoire to their own strengths. The improving bard is always looking for opportunities to perform, not necessarily just to receive feedback, but because the act of performing is itself how they “have fun” with their art.

That doesn’t mean that all improving bards have to perform all the time. Most improving bards have been around long enough that they understand when it’s appropriate and when it’s not, when it’s desired, and when it would be an imposition. They look for chances to give their art in the same way that scribes ask for assignments or seamstresses volunteer to make garb for others – because it’s how they pass the time, it’s how they contribute, and because it’s fun.

-Bad Bards

In contrast, “bad bards” are the ones that make the other bards cringe, because, generally speaking, they are the ones who make little or no effort. They are the bards who do not learn, who do not improve, who think they can perform on the fly without having prepared, without having practiced a piece, without having shaped and crafted it, without making sure that it’s wanted, without fitting it to their strengths, and without regard for the impact their performance has (or doesn’t have). Bad bards, in short, don’t think they have anything to learn, and they don’t think they need to improve.

The corollary to this is a “Rude bard” – one who perhaps has practiced, at least a little bit, but who generally shows little regard or little sensitivity to whether their song, story, poem, or other offering is really desired by the people in the immediate vicinity.

Our goal as bards is to transform “bad bards” into learning ones, or even improving ones, by treating them exactly like their beginning or learning compadres. Grant venue, listen, compliment what’s good, make suggestions if you have them, and point them toward someone who can help them with their trouble areas. ALL bards need practice; ALL bards need to work on their songs before they perform them publicly. ALL bards need to know when and where and how to present their art.

How to Listen

Okay, that may be true, but then what about someone who isn’t interested in listening to bards at all?

Most bards are working on some performance or other, and even if they’re not, they still enjoy getting together and singing, sharing tales, and hanging out. It takes a minimum of three to make a bardic circle. (We’ve tested this!) When three or more get together and break out the tunes, the instruments, and the stories, don’t panic! Mostly they are just having fun for and with each other. Stop and listen for a bit. It won’t kill you, honest. Audiences are appreciated, they make bards grateful, and you just might hear a song you like.

If you really don’t want to listen, that’s fine. Just like not everyone wants to sit in a sewing circle, or listen to battle stories over and over, not everyone likes attend a concert all the time. If a circle is going, though, then most of the bards in it are not depending on every audience member’s rapt attention. They’re performing for each other, and for the joy of being able to perform in a place where they have reason to believe it’s welcome.

So, if you stumble on a bardic circle, but you don’t want to give it venue, stay on the outside of it. Please be respectful and have quiet conversations or move away to converse. (It’s totally okay to walk away, especially if a circle is not going well.) But if you do find yourself the target of a new or learning bard, or even a bad bard, I hope you’ll bear in mind ways to assess their level of experience and then constructively point them toward performers who can help them improve.

One word about the accusations that bardic music is all bad filk or out-of-period. A lot of it is filk. A lot of it is kinda iffy. A lot of it is out-of-period, too. But the array of music performed in the bardic arts of the SCA is much wider than it was twenty years ago. Just as our feasts, garb, feast gear, footwear, hats and nearly everything else have become more finely tuned over the years, so too have bards been busy writing new music on historical or SCA-appropriate subject matter, and learning how to sprinkle in period music in ways that are accessible to modern audiences. Bardic arts still may not be everyone’s bag, but they’re not what they were. And bad bards can only be improved by recognizing what they need to fix.

Over the next months, I hope to highlight some amazing performers within our Kingdom, expose you to some inspiring music, poetry, and tales, and raise the profile of the bardic arts in Æthelmearc.

 

 

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Arts & Sciences Glories at Kingdom Twelfth Night

15 Thursday Jan 2015

Posted by aethgazette in Arts & Sciences, Costuming, Event Reports, Food, Music, Poetry & Prose, Scribal

≈ 2 Comments

Tags

Bardic, Brewing, cooking, costuming, Embroidery, food, Kingdom Twelfth Night, Music, scribal, Singing

Kingdom Twelfth Night featured an amazing array of Arts & Sciences activities. Here’s a report on the highlights, submitted by Mistress Arianna of Wynthrope.

At Æthelmearc Kingdom Twelfth Night, in the morning court, the office of Kingdom Minister of Arts and Sciences passed from Mistress Alianor de Ravenglas to Master Fridrikr Tomasson av Knusslig Hamn, assisted by his lady, Mistress Orianna Fridrikskona. Master Fridrikr and Mistress Orianna, both from the Barony of Thescorre, have stated that their goals in the office are to promote the Arts & Sciences within Æthelmearc, expand the opportunities for artists, scientists, and artisans to practice and promote their crafts, and to support the on-going mission of the Æcademy to provide educational opportunities for all of Æthelmearc.

Master Fridrikr Tomasson swearing fealty as Kingdom Minister of A&S. Photo by Master Alaxandair O'Conchobhair

Master Fridrikr swearing fealty as Kingdom Minister of A&S. Photo by Master Alaxandair O’Conchobhair

Lady Teresa Alvarez, who made Queen Anna Leigh's garb, was inducted into the Order of the Sycamore. Photo by Mistress Hilderun Hugelmann.

Lady Teresa Alvarez with her Sycamore scroll. Photo by Mistress Hilderun Hugelmann.

Their Majesties wore some beautiful new clothing to Their Twelfth Night celebration. His Majesty, King Titus, was arrayed in an intricate German Landsknecht outfit with slashed and interlaced breeches in red, black, and white, made by Lady Madeleine de l”Este.

Her Majesty, Queen Anna Leigh, drew all eyes in a beautiful green wool German gown crafted by Lady Teresa Alvarez, who put over 120 hours into embroidering the stunning bodice and sleeves with flowers in white silk. She based the gown on a portrait of Kunigunde Stammbaum der Babenberger from the Babenberg Family Tree triptych at Klosterneuburg Monastery (Hans Part, 1489-1492), shown below. The embroidery on Her Majesty’s gown, farther below, is Lady Teresa’s own design – she used a stylized edelweiss flower because the Babenberg family was from Austria. Lady Teresa was inducted into the Order of the Sycamore at court that evening for her skill in costuming and embroidery.

Anna Leigh inspiration piece

Portrait of Kunigunde Stammbaum der Babenberger courtesy of Lady Teresa Alvarez.

Anna Leigh embroidered garb

Queen Anna Leigh’s embroidered gown. Photo by Mistress Hilderun.

The Æthelmearc Sylvan Bard Competition

After the morning court, six performers vied for the honor of becoming Sylvan Bard. Pictured below are the competitors along with our Monarchs: Lady Bugga Bilibit, Master Ruaidhri an Cu, Baroness Gwendolyn the Graceful, Her Majesty Queen Anna Leigh, Lady Cairdha Eilis O’Coileain, His Majesty King Titus, Master William de Montegilt, and Lady Aibinn Mhor Inghean Rioghbhardain.

Royals and bardic competitors

Sylvan Bard competitors with Their Majesties. Photo by Mistress Hilderun

The competition, which was hosted by the outgoing Sylvan Bard, Lady Alianora Bronhulle, and past Sylvan Bard, Don Orlando di Bene del Vinta, featured three rounds. In the first round, entrants were asked to perform a piece on the theme of Courtly Love. All of the bards chose to sing; some did period pieces, others sang filks or original compositions. Then in the second round, the performers were given an hour or two to write a new piece on a theme chosen by the Crown. The competitors gathered in a circle around Their Majesties to learn in secret what that theme would be before going on their way to scribble madly.

Baroness Gwen reciting a sonnet to Don Orlando for his birthday. Photo by Arianna of Wynthrope

Baroness Gwen reciting a sonnet for Don Orlando for his birthday. Photo by Mistress Arianna of Wynthrope

Only when the second round performances began was it revealed that the bards were told to write their new pieces on the numerous knightly virtues of… Don Orlando! His birthday had been celebrated only a few days earlier, so Their Majesties bade Don Orlando sit on the steps of the stage so that each bard could perform directly to him.

The competitors were also required to choose a different performance medium from the one they had used in the first round, so for Round 2, most recited poems or told stories, many of them humorous in nature. There was a rhyme improvised on the spot by Lady Cairdha and a “doggerel” by Master William that was greeted with much laughter:

Don Orlando comes from far away
To celebrate with us his natal day,
‘Tis of his knightly virtues I would sing,
But I must choose just one! So says the King.
He sings of courtly love and such,
And eager ladies seek his touch.
Of chastity, Orlando is sans peer,
And so no ladies his amours must fear.
But truly chaste, he does rebuff
Their pleas and sighs and even tears,
Because he knows, though it be tough,
Once a king, always a king,
But once a (k)night is enough.

Ruaidhri an Cu

Master Ruaidhri. Photo by Arianna

Master Ruaidhri an Cu then followed. Although he lives in Atlantia, Master Ruaidhri had received permission from Their Sylvan Majesties to join the competition. As he began his second round entry, he said that since he did not have enough time to compose great verse (with an aside of “Damn you, William!”), he’d fallen back on the old Scottish plan of drinking heavily. He then told a story of Don Orlando having taken a vow of temperance, but being gifted with alcohol by an unnamed Baron who Master Ruaidhri admitted was, in fact, present in the room. Baron Gunnar of Endless Hills and Baron Ichijo of Blackstone Mountain, who were sitting together, looked at each other, laughed, and said “That leaves only the two of us…” In the story Master Ruaidhri recounted, the unnamed Baron repeatedly tempted Orlando by sending him gifts of various types of potables, at which the Baron’s wife complained to her husband that Orlando would do the Baron bodily harm for such insults. In the end, though, the unnamed Baron told his wife that it would be fine, as he had put Baron Ichijo’s name on the gifts.

Lady Bugga performed an interpretive dance in honor of Don Orlando’s humility while reciting verse interpersed with singing, for her Majesty Anna Leigh had informed the competitors that she would look with favor on such performances. Indeed, later during a brief intermission in the evening Court His Majesty commanded a round of interpretive dance in the middle of the hall, which was later dubbed a Mosh Pit.

Mosh Pit of interpretive dance during the intermission at evening Court

Mosh Pit of interpretive dance during the intermission at evening Court. Photo by Master Alaxandair.

Lady Aibinn told a story of a young man who sought the definition of valor, which he learned was to slay a dragon. So he went to where a dragon was reputed to be, but found only a woman. She told him the dragon was away, but demanded various things of the man before consenting to be “saved. “ This took many years, as each time the man returned the following year with the items she requested, the lady insisted on more, culminating in a requirement for his allegiance. The man then requested her name, which she told him was Valor. As the man swore his fealty, night fell and the lady transformed, revealing herself to be the dragon. The man paused, said, “A knight is sworn to Valor” and completed his oath, at which point the dragon was vanquished, and the lady reverted to human form and departed the dragon’s lair with him forever.

Baroness Gwen then recited a sonnet on the theme of honor, extolling Don Orlando’s skill with both his rapier and his voice:

In January, winter’s frost doth bite;
The wind whips cloak and cuts through woolen hose.
Yet to the season one was born who fights
With blade as sharp as any wind that blows.
It flashes, ever dancing, but fear not,
For honor guides this fencer, and no foe
Could e’er complain of one excessive shot,
But merrily unto their deaths they go.
And afterward, he’ll sing us songs most sweet
Of knights and ladies, love and chivalry,
Or something of less lofty goals, of cheats
And vagabonds, and joyful ribaldry.
Therefore, Orlando, think this no mean trick:
We honor you, and not upon you pick.

At the completion of the second round of the competition, Their Majesties selected three finalists to continue to the third and final round: Baroness Gwendolyn, Master Ruaidhri, and Master William.

Don Braennen

Don Braennan. Photo by Arianna.

Master William sang a humorous filk to the Song of Shield Wall in which a group of men struggled to erect their Pennsic camp’s sheetwall against various impediments, only to finish just as closing ceremonies began. Master Ruadhri performed an original piece called “The Wrath of the Bard” about the perils of offending bards, while Baroness Gwen sang more than twenty spellbinding verses of her own composition about the story of Tam Lin.

After the finals, Lady Alianora announced that Don Braennan MacEarnan, called the Misguided, had arrived at the event too late to compete, but still wished to sing, and Their Majesties granted his request. Don Braennen then performed “Tom O’Bedlam” about the residents of Bethlehem Hospital for the Insane in London. His singing ranged from lyrical to disturbing and creepy as he feigned a variety of mentally ill people, at one point even crawling on the floor. It was a memorable performance.

Their Majesties announced at Court that evening that They had chosen Baroness Gwendolyn the Graceful as Their Bardic Champion. Baroness Gwen was invested with the baldric of her new office.

Gwen as Champion

The new Sylvan Bard, Baroness Gwendolyn the Graceful. Photo by Arianna

Their Majesties thanked Their outgoing Bardic Champion, Lady Alianora Bronhulle, for her service, then before she could escape, They seized her and inducted her into the Order of the Fleur d’Æthelmearc for her skill in the bardic arts.

Ailianor Fleur

Lady Alianora Bronhulle, newest member of the Order of the Fleur d’Æthelmearc. Photo by Arianna

Yet More Arts and Sciences!

In addition to the Bardic competition, there was a performance by the Sylvan Singers of the Shire of Sylvan Glen, directed by Don Orlando di Bene del Vinta. They sang an array of choral pieces including We Be Three Poor Mariners and Since First I Saw Your Face, then were joined by members of the Debatable Choir in performing three Yuletide songs.

The Sylvan Singers. Photo by Arianna.

The Sylvan Singers. Photo by Arianna.

At the evening court, Baroness Ekaterina Volkova, Sylvan Signet, announced the winner of the first round of the Scroll Blank Challenge, in which the scribes of Æthelmearc were asked to submit illuminated borders to be used for Kingdom award scrolls. THLord Ishiyama Gen’tarou Yori’ie submitted the highest number of scrolls: 59 painted blanks, all on documented Japanese designs. The Scroll Blank Challenge will continue, with the next collection point happening at the Festival of the Ice Dragon in the Rhydderich Hael on March 21st.

Ishiyama

THLord Ishiyama. Photo by Arianna.

Baron Rauthbjorn Lothbroke won both the Queen’s Choice and the Period Brewing competitions at Twelfth Night. He also contributed to the Taster’s Tavern organized by THLord Madoc Arundel and Lord Kyoshiro Kumagai, working with the Kingdom Brewers’ Guild. The Tavern offered gentles over the age of 21 with ID the opportunity to partake of potables donated by the brewers of the Kingdom. The Tavern was a big hit, and many gentles are looking forward to Debatable Lands Twelfth Night on the 17th when THLord Madoc will host a second such tavern.

Baron Rauthbjorn with his prize scrolls, both calligraphed by Lady Lara Sukhadrev. Photo by Mistress Hilderun.

Baron Rauthbjorn with his prize scrolls, both calligraphed by Lady Lara Sukhadrev. Photo by Mistress Hilderun.

Event goers then retired to an elaborate and tasty feast prepared under the direction of three different cooks:
— Master Gille MacDhomnuill was responsible for the First Course (lunchtime);
— THL Byrghida Zajacszowa was in charge of the Second Course (mid-afternoon); and
— Master Thorsten Christiansen Ronnow directed the preparation of the Third Course (evening).
The host of servers needed to serve all this food was ably managed by Baron Meszaros Janos. As the kitchen’s “point person,” Dame Bronwyn MacFhionghuin was responsible for non-cooking duties: keeping track of guests’ food allergies, preparing the feast booklet and table menus, and ensuring the kitchen ran smoothly.
The Children’s Feast was prepared by Lady Maacah Sitt al Galb. For more information on how the feast was designed, see the article “Q&A: Savor the Feast at Twelfth Night, No Waiting!”

Another amazing item that debuted at the Twelfth Night feast was a baldequin designed and built by Baron Robert of Sugar Grove with furnishings by THLady Jacqueline de Molieres.

baldequin

Baldequin by Baron Robert and THL Jacqueline. Photo by Mistress Hilderun

Congratulations to the Autocrat, Mistress Alicia Langland, and the Shire of Abhainn Ciach Ghlais, for hosting a truly wondrous Twelfth Night!

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Happy New Year from the Gazette!

01 Thursday Jan 2015

Posted by aethgazette in Arts & Sciences, Esoterica

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Tags

A&S, cooking, Garb, Heavy, Links, Music, rapier

The Æthelmearc Gazette wishes each and every one of you a New Year filled with happiness, health and all things SCAdian! To that end, we are offering you links from several of our editors to start the year off right. (Our complete staff listing can be found on our ABOUT page; we’re looking forward to a fabulous 2015!)

692px-Lorenzo_Lotto_046From Mistress Ysabeau Tiercelin, our Managing Editor, we have the Realm of Venus. This site is the go-to site for anyone interested in the clothing and accessories of Renaissance Italy, especially sixteenth century Venice. The Wardrobe section alone, with its numerous original portrait sources, is worth the visit. The Showcase features the work of costumers and reenactors, along with fun garb and accessory contests.

A-43From our Region 1 Editor, THL Ursula of Rouen, Raymond’s Quiet Press. “As a Viking I can’t be caught without my bling and Sir Raymond keeps me in good supply! He has a great selection of quality pieces from a myriad of time periods. Has documentation for many of his pieces and is quite affordable. Did you know that he will (or still did last time I asked) dip most anything he makes in silver or gold for a nominal (and reasonable) fee? Check him out online here or in person at Pennsic!”

7002613From our Region 2 Editor, Mistress Hilderun Hugelmann, the Karen Larsdatter Material Culture Links Pages. This link takes you right to the site map where an amazing number of topics related to our time period will bring you to the links pages for those subjects. On clothing alone you have topics like Clothing Worn by the Blind, Patched Clothing, and Clothing with Blackwork Embroidery. Each links page features numerous primary source pictures from period art.

non4From our Region 3 Editor, Mistress Euriol of Lothian, Stefan’s Florilegeum. in medieval Latin, a florilegium (plural florilegia) was a compilation of excerpts from other writings. It was also applied literally to a treatise on flowers or medieval books that were dedicated to ornamental rather than the medicinal or utilitarian plants covered by the herbals of the time. This site is another massive links collection, first started in 1989 by THL Stefan li Rous. Articles, bibliography collections, primary source collections, message thread postings from the original SCA Rialto internet message boards, and many topics helpful for running and planning SCA events (from feasts to event stewarding) will keep you browsing for a long time.

il_570xN_561508893_1iv2From our Region 4 and Scheduling Editor, Lord Magnus de Lyons, The Purple Needles, “because without her I would be wearing mostly potatoe sacks.” The Etsy site features creations by Jynette Meade (Countess Lynette Semere of Atlantia in the SCA) including cast pewter buttons, houpelandes and hoods. She also does custom work.

From our Arts & Sciences and Youth Martial Combat Editor, Mistress Arianna of Wynthrope, The Pennsic Choir Recordings. The Known World Choirs perform at events throughout the SCA. People from all over the Known World threeClericsSinging-300x295gather to learn and perform period choral music at large events like Pennsic, Gulf Wars, and Estrella. Its Pennsic Choirs consist of a Children’s Choir, a Youth Choir, a select choir of 12-16 people called Chorulus Pennsicus, and the original open adult Pennsic Choir which has been performing for over 20 years. MP3s of last Pennsic’s performances can be downloaded from the KWC website, and it also has pages with resources for choirs and information about upcoming performances.

mosfell_leirvogur_bayFrom our Poetry & Prose Editor, Baron Fridrikr Tomasson, a video from the Mosfell Archaeology Project in Iceland.  It features Dr. Jesse Byock, from UCLA, one of the leading experts on Icelandic archaeology and culture. The video covers history of interest to Viking personae, along with beautiful scenery and an in-depth look at what takes place on an archaeological dig.

book-of-hoursFrom our Links & Esoterica Editor, Dame Aoife Finn, Project Gutenberg. The Project Gutenberg website offers over 46,000 free ebooks: choose among free epub books, free Kindle books, download books or read them online. There is also a mobile site, as well as sites in German, Portuguese and French. A few finds in a quick search included Xenophon’s On Horsemanship, H. Kevorkian’s The Arts of Persia, and Eileen Power’s Medieval English Nunneries c. 1275 to 1535.

Medieval_bakerFrom our Food and Cooking Editor, Baroness Katja Davidova Orlova Khazarina, the Medieval Cookery website. The site features lots of excellent redactions, plus many original food and cookbook texts. The redacted medieval recipe section is an excellent starting point for SCA feasts, and the Medieval Menus and Statistics from Medieval Cookbooks are great food research tools.

DSCN0984From our Heavy List editor, Baron Dominic McMorland, the Armour Archives. From message boards on armour, fighting and chivalry to merchant sites and patterns for those making their own, the Armour Archive covers it all. Check out the Items for Sale/Classifieds for pre-owned items!

PHMC393_5rap_lrFrom our Rapier Editor, Don William Parris, the Wiktenauer website. It has facsimiles and transcripts from martial masters throughout the centuries, along with links to other academic sites. Wiktenauer is an ongoing collaboration among researchers and practitioners from across the Western martial arts community, seeking to collect all of the primary and secondary source literature that makes up the text of historical European martial arts research and to organize and present it in a scholarly but accessible format. The Wiktenauer project is named for Johannes Liechtenauer,  grand master of the oldest known longsword fencing style; his tradition was also the best-documented of the early Modern era, the subject of many dozens of manuscripts and books over a period of more than three centuries.

Wishing you all the best!
~ the Æthelmearc Gazette Staff

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Music at Kingdom Twelfth Night

19 Friday Dec 2014

Posted by aethgazette in Event Announcements & Updates

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Tags

12th NIght, Dance, Music

Good musicians of Æthelmearc!

danceJanuary 10 is Æthelmearc Kingdom 12th night! Among the many activities (bardic
championship, brewing contest, children’s activities, etc.) will be a Masked Ball. It would be wonderful if you bring your instruments and your talent to play for Their Royal Majesties and Their Royal Highnesses and all the populace in attendance.

Please come to the Ball! Entertain and delight us as we dance to your music. The set list is on the event website here. The music is from the Pennsic Pile 43.  Please come share your skill and music on this most glorious occasion!

Sionn, the Lost

(If you plan to attend and play, feel free to let me know beforehand so I can ensure you have all the information/music you require. Regardless, we will be glad to see and hear you at the event.)

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RSS The Æthelmearc Gazette

  • Wolgemut to Perform at Pennsic
  • Populace in Focus – THL Gunnlaud Leifsson
  • Mark Your Calendars! AEthelmearc Pennsic Happenings!

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