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<P><FONT size=2><SPAN class=130574911-16092006><FONT face=Arial
color=#0000ff>From the Ealdormere bards. Sadly, I won't be able to
attend.</FONT></SPAN></FONT></P><FONT face=Arial color=#0000ff size=2><SPAN
class=130574911-16092006>
<P><FONT size=2>In service to the dream with a song in my heart, I am,<BR>HL
Gerald of Leesville<BR>A bard of Stargate </FONT></P></SPAN></FONT>
<P><FONT size=2><SPAN class=130574911-16092006> </SPAN>Greetings to the
Bards and Cooks of the SCA</FONT></P>
<P><FONT size=2>My apologies if you get this missive more than once. Please do
disseminate this message to your Kingdom list or any other list you
wish.</FONT></P>
<P><FONT size=2>The 4th Known World Bardic College and Cooks Collegium (Oct
6-9/2006 in Acton, Ontario, Canada) is progressing well and the class schedule
should be up shortly. Teacher spaces are filling up quickly and at this point we
will be running 2 full days of classes (Sat/Sunday) with 3 tracks in each area.
This is almost 100 hours of classes plus 3 main bardic circles, snacks, open
stage time, campfires, a Sonnet Feast, the bi-annual Boreal Symposium (see:
</FONT><A
href="http://ece.uwaterloo.ca/~arnora/arnora/borealhome.htm)and"><U><FONT
color=#0000ff
size=2>http://ece.uwaterloo.ca/~arnora/arnora/borealhome.htm)and</U></FONT></A><FONT
size=2> more fun than you can eat. For non-bards (and cooks) we hope to have
additional classes on craft topics as well as some archery and possibly an open
fighting field (if there is interest - let us know!)</P>
<P>Listing of some of the classes being offered:</P>
<P>Class Descriptions</P>
<P>Bardic</P>
<P></P>
<P>Ann LeGris, OL</P>
<P>1) Reading Neums (square notation) which includes an introduction to
solfege.</P>
<P>2) Why does Mediaeval Music Sound So Different? An Introduction to the
Modes.</P>
<P></P>
<P>Alyce DeSheppe, OP, CB, GoA</P>
<P>1) That's just an apple. Isn't it?: Come see a new way of looking at old
things and maybe you might just get bitten by your muse. A discussion on the way
we perceive things around ourselves and how those perceptions reflect in the
poetry we write. 1 hour </P>
<P>2) Introduction to Fixed Form Poetry: Does fixed form scare you? Do sonnets
and sestinas give you nightmares? Then you will want to attend this class. We'll
look at an overview of some of the fixed forms used in medieval European poetry
in the first half of the class. Then we will take one of the forms and work
together to create an original piece.</P>
<P></P>
<P>Brion Enkazi, GoA</P>
<P>1) Storytelling 101 - Basics of the art. Storytelling follows the 80/20 rule.
The first 80% takes 20% of the effort, and you can tell a darned solid story by
simply avoiding the things that are wrong. This class focuses on that first 80%.
</P>
<P>2) Storytelling 201 - More of the same, but looking at tricks of the trade.
These classes inevitably focus on a story or two that people are working on,
with the idea of dumping out the storytelling toolbox to find the right ones to
tighten a piece toward where you want it. A LOT of this goes to sanding,
polishing, and otherwise removing extraneous material. </P>
<P></P>
<P>Cat Faber (ska: Myfanwy ferch Tangwystl, GoA)</P>
<P>1) Writing songs on short notice: Ever wanted to enter an on-site song
competition but had no idea how to go about it? Inspiration can't be commanded,
but the tools to craft that inspiration into lyric and melody can be learned and
practiced. Come hear tricks and tips for getting ideas, wrestling with stubborn
words, weaving words into a complete song, riveting pitches to syllables, filing
them into a smooth musical phrase, forging phrases into melody, and, most
importantly--remembering everything you did so you can learn your new song!</P>
<P>2) Countermelody: One popular setting for medieval songs is melody and
counter melody; two voices (or a voice and an instrumental line) can carry
different melodies that twine about each other like the rose and the briar. Come
learn some simple tricks for writing countermelody. Students who can read and
write music (however haltingly) or know some way of transcribing it (ABC
notation is perfectly okay) will have an easier time remembering what they have
done; but take heart--tape recorders (or recording imps of whatever stripe) can
also be a helpful tool.</P>
<P></P>
<P>Dahrien Cordell , GoA</P>
<P>1) Norman Haiku: A parody of one of the world's most respected poetry forms.
Pure silliness and humor, Norman Haiku was made up by someone unknown to me.
Master Gerald of Ipsley brought it out of the West Kingdom some time before A.D.
1989, but also doesn't know who originated it. I'll present its made-up history
and context, its form, rules, and mores, some examples -- and then the class
will create their own.</P>
<P></P>
<P>Dorigen of the Grey gate, OL</P>
<P>1) Poetic Form Workshop: The Sestina - a two-part class where the first
session discusses a poetic form and the second session is a hands-on workshop
where the students actually work with the form.</P>
<P></P>
<P>Eleanor Fairchild, OL</P>
<P>1) Vocal Master Class: This is an opportunity to work with Eleanor on
developing performance and vocal skills and to perfect specific pieces. Bring a
piece you want to work on and get some coaching on how to improve your
'game'.</P>
<P></P>
<P>Eliane Halevy, GOA</P>
<P>1) Sephardic Music Overview: An overview, with recorded music and live
singing, of vocal music collected from communities descended from the medieval
Jews of the Iberian peninsula (Spain and Portugal). Some of the most gorgeous
melodies you'll ever hear!</P>
<P></P>
<P>Fiana of Clare, OL</P>
<P>1) Old English Poetry: A quick and dirty introduction to Old English poetic
techniques and how to write them.</P>
<P>2) Women Warriors in Medieval Literature: A (hopefully) short overview of how
women warriors were depicted in medieval literature, and the general types.
Warning: the instructor knows far too much about this topic and may run over
time, bore you to tears, and give you far more information that you ever
wanted.</P>
<P></P>
<P></P>
<P>Garraed Galbraith, OL</P>
<P>1) The Role of the Bard in Celtic Society: This class will examine the role
of the bard in early Irish and Scottish society under Brehon Law and examine how
this might translate to the SCA.</P>
<P></P>
<P>Guernen Cimarguid, OL</P>
<P>1) Welsh Bardic Tradition :</P>
<P></P>
<P>Gwendolyn the Graecful, GOA, CB</P>
<P>1) Bardic Coaching: Have a piece that's not quite performance-ready? Bring it
to coaching for a little polishing! Wring every last drop of pathos - or funny -
out of your song, story, or poem. Please bring a piece lasting no longer than 7
minutes so that we can work on it with time for all. 2 Hours</P>
<P>2) Songs Every SCAdian Should Know - Back by popular demand! This survey of
SCA music covers some of the basic "types" of songs with examples from some of
the best bards around. Participation encouraged! 90 minutes</P>
<P></P>
<P>Gyric of Otershaghe, AoA</P>
<P>1) Bawdy Songs: Come learn the art of the Bawdy Song. This class will set you
on the road to a rollicking Bardic Circle with a bit of everything...Romantic,
sad, happy and of course...Bawdy. A complete mini circle complete with songbook.
($2 to cover photocopying)</P>
<P></P>
<P>John Inchingham, OL, OP: </P>
<P>1) Songwriting for Fools </P>
<P>2) Improvisation for the SCA.</P>
<P></P>
<P>Magnunnr Hringsdottir Fotatredir (called Unnr)</P>
<P>1) Old Norse Poetics: An introdution to the way Old Norse poetry probably
sounded, assonance, "rhyme," and meter according to Snorri Sturluson & the
First Grammarian.</P>
<P></P>
<P>Marion of Heatherdale, OL</P>
<P>1) "Vocal Projection" -- the physical how-to's of projecting and freeing your
true voice.</P>
<P>2) "Master Class: Performance Critique/Suggestions" (could be in a group,
like last Pennsic) - get some helpful suggestions for improvement of your
performance piece.</P>
<P>3) "Finding New Inspiration" - techniques for finding new sources of creative
inspiration, from literature, legend or just looking at the world around
you.</P>
<P></P>
<P>Martin Bildner, GoA:</P>
<P>1) Norse Music: A survey of the music and instruments used in Scandinavia and
the Danelaw at the turn of the millennium.</P>
<P></P>
<P>Michael Alewright, OL:</P>
<P>1) </P>
<P></P>
<P>Muirenn ingen Morgair, AoA</P>
<P>1) Harp 101: (BYO harp) Covering the history and development of the harp from
pre-history until the late middle ages. Some emphasis will be placed on harps in
Ireland, Scotland and Wales. Learn the basics of how to hold your hands, how to
play a proper scale, and an easy medieval tune (to be determined). Sight reading
not required, but if you can't read music you'll have to learn by ear.</P>
<P></P>
<P>Yoshikuri Nagayori Dono, GoA</P>
<P>1) Japanese storytelling and an Introduction to Japanese poetry: The Class
will outline the common elements within Japanese folktales and the development
of the tales. (social, religious, political influence, etc.) Also,an
intorduction to the most common forms and development of poetry found in period
Japan. 1 hour class</P>
<P></P>
<P>Rowen Brithwallt, OL</P>
<P>1) Scots Gaelic Traditional Music: </P>
<P></P>
<P>TSivia bas Tamara v'Amberview, OL</P>
<P>1) CHILD BALLADS: Not ballads for wee baybees, the Child Ballads are a
five-volume collection compiled by the English Victorian scholar Francis James
Child. These ballads are considered the leading collection of "Folk ballads" in
the English genre, many of them being specifically what are called "border
ballads" (From the English/Scots border areas), and live on in rural areas of
both Canada and the United States. This class will listen to many variations of
these songs, part of a 55 gigabyte compilation done by Master Ioseph of
Lockseley from Atenveldt, looking for clues in dating whether or not a given
song might date back prior to 1650. (We will use 1650 rather than 1600 for this
class, as many dancers also use the later date due to the dearth of earlier
published instructions.) Child ballads are a good starting point for those
wanting to write folk-genre SCA music rather than court-genre SCA music
themselves.</P>
<P>Cooking</P>
<P></P>
<P>Aeneas Oakhammer GoA</P>
<P>1) Playing with your meat - hands on sausage making</P>
<P></P>
<P>Aibhilin fra Skye OL</P>
<P>1) what the Anglo-Saxon's ate</P>
<P>2) Playing with Anglo Saxon ingredients and food descriptions.</P>
<P></P>
<P>Alyce DeSheppe, OP, CB, GoA</P>
<P>1) Feast Planning: - A look at how I prepare for a feast, from getting to
know the kitchen, through menu preparation, pre-cook, day-off scheduling and
finally service.</P>
<P></P>
<P>Lady Cat</P>
<P>1) Spices</P>
<P>2) A Roman Feast </P>
<P></P>
<P>Catrin von Berlin aka Gwen Cat (OL, etc) </P>
<P>1) Potato Puzzlement: Is it or isn't it?</P>
<P>In Marxen Rumpolt's Ein New Kochbuch - 1581, vegetable recipe #37 is the
infamous Erdäpfel recipe. In modern German "Erdäpfel", apples of the earth, is
another name for potatoes. Is this one of the earliest written recipes for
potatoes? Did they use sweet or white potatoes, or was it actually a type of
squash? In this installment of Hands-on Cooking with Rumpolt, we will break into
groups and re-create this Erdäpfel recipe. Time permitting, we will also play
with another veggie, salad, tart, or cookie recipe to help round out Sunday
dinner.</P>
<P></P>
<P>Lady Cera</P>
<P>1) Irish cooking How to develop a feast from the evidence</P>
<P></P>
<P>Katherine (Kate) Holford aka The Waffle Lady OL</P>
<P>1) What to Make for Breakfast? Pain Perdu, Waffles, Eggs and Gammon of Bacon
Slices . . . sounds just like breakfast! I will share some of my favorite
recipes as well as yet-untried dishes. We'll begin with a class discussion of
the various situations and events where breakfast can be served, from camping to
the beginning of an event, and typical medieval recipes that are still enjoyed,
followed by hands-on cooking of a couple of delicious and easy recipes. </P>
<P></P>
<P>Fruchan of Skye, AOA </P>
<P>1) So You Have Decided To Feast-o-crat -This class will help you from the
time you decide to try to do a feast until You start to grocery shop. There will
be hand outs such as a time line, portion size and how much to cook for 100 and
others. Expect lots of discussion.</P>
<P>2) Feast Day EEEEK!! -- Well, you have the groceries, now what? Again, a
handout of a timeline and lots of discussion. I will talk you through putting
away your groceries, preparing, timing and serving your feast and then the all
important clean up after all the food is done.</P>
<P></P>
<P>Lady Lucis</P>
<P>1) Cooking for People with Alergies</P>
<P></P>
<P>Lady Rose Marian</P>
<P>1) Spices: A Beginner's Journey -This is a basic overview of which spices
were used in period, with a bit of history on the spice routes and how which
spices came to which locations. Spice examples will be available for
examination.</P>
<P>This class is meant for beginning SCA cooks or those interested in the basics
of spice usage in period cooking/recipes.</P>
<P></P>
<P>TSivia bas Tamara v'Amberview, OL </P>
<P>1) The Good, The Bad, and the REALLY UGLY:- A discussion on modern
Medieval/Renaissance Cookbooks. Today most serious SCA cooks take for granted
the printing of original period sources alongside a cook's redaction for the
modern kitchen, but it wasn't that long ago that SCA cooks were at the mercy of
translators and interpreters who thought carob was an acceptable substitute for
chocolate in a "more historically accurate" dish. (CHOCOLATE??!) Baroness TSivia
will show some samples of mundane and SCA-published cookbooks used in the SCA,
highlighting why some are good and others flawed. This is a good class for
anyone who wants to become more fluent in assessing the quality of a cooking
recipe (in competitions, for feasts, or just for their own entertainment).</P>
<P></P>
<P>Yoshikuri Nagayori Dono, GoA</P>
<P>1) Hands on Japaneese cooking - We'll be taking a look at the history of food
in Japan, from the importance of rice to the development of the Tea Ceremony.
Samples of period recipies will be available.</P>
<P>If you are a bard or a cook in the Society, don't miss this excellent event.
Airport pick ups are available at both Toronto and Buffalo and on site cabins
and beds make travel easy.</P>
<P>The basic website is up and running and classes with descriptions will be
updated shortly </FONT><A
href="http://www.ece.uwaterloo.ca/~arnora/arnora/cooksbards06.htm"><U><FONT
color=#0000ff
size=2>http://www.ece.uwaterloo.ca/~arnora/arnora/cooksbards06.htm</U></FONT></A></P><FONT
size=2>
<P>We are still looking for a few teachers</P>
<P></P>
<P>Garraed/Tim and Aibhilin/Leslie</P>
<P>Autocrates, </P>
<P>Known World Coioks and Bards 4</P>
<P> </P>
<P> </P>
<P>Oct 6-9/2006</P>
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