Probably the most popular Finnish fiddle tune, a polkka (Finnish), is Säkkijärven polkka, according to Finnish button accordion player and Finnish Dance Music historian and ethnographer Richard Koski. Richard writes, “Russia invaded Finland in November 1939. When the Finns beat back the Russians, the Russians left behind radio controlled mines. The Finns played Säkkijärven polkka over the radio about 1,500 times whereby its frequencies would confuse and defeat the Russian mines. This Winter War ended in March 1940… As a result of the peace treaty, Finland retained ts sovereignty, but ceded 9% of its eastern territory to the Soviet Union.” Richard’s new book of fiddle tunes, Finnish Dance Music of the Finger Lakes of New York State, includes numerous area references to the Finnish community, past and present, from the lower Finger Lakes area of Central New York.
Folk and Traditional Music
History to Song:
For me, it all began in the Paul Smith’s
College Library, looking at historical
photos of Paul’s hotel with the librarian,
Neil Surprenant. Neil kept telling me
how major parts of the Paul Smith empire
were the idea of his wife, Lydia: the electric
company, the sawmills, the training of
their sons in hospitality. As he finished telling
me their story, I asked why there was
no large portrait of her on campus, and
only a dormitory named after her. He said,
“You’re a songwriter; write her a song.”
The Sasha Polinoff After-Story:
This is the story of how seemingly disparate communities coalesced around a formerly prominent musician and sustained him in old age. As such, it takes place in comparatively humble or domestic settings and with a smaller audience.
It is very much the story after the story. It begins in the closing decades of the 20th century, when Russians and all things Russian were no longer in vogue—particularly, in the wake of the McCarthy years. It begins when Lower Eastside nightclubs that once featured a variety of ethnic music, were losing patrons, in part, because their first-generation audiences had moved out of the City to the “burbs” and could no longer find a place to park.
The Schenectady/West African Youth Orchestra Will Debut New Music by Scott Hopkins
On Friday, November 7, 2025, the Schenectady/West African Youth Orchestra (a youth ensemble created by celebrated Ghanaian musician, Zorkie Nelson) will debut a new piece by banjo musician and music educator, Scott Hopkins. The collaboration is the...
Sara Milonovich
Sara Milonovich is an award-winning songwriter and fiddler from the Mohawk Valley who performs nationally and internationally with her alt-country band, Sara Milonovich & Daisycutter. A 2023 winner of the Bluebird Golden Pick Contest (Bluebird Cafe/Taylor...
Lalita Ramnauth
Lalita Ramnauth was born and raised in Guyana where, at a young age, she and her family discovered her natural talent for singing. Having moved to the United States from Guyana in 1992, she eventually relocated to Schenectady. Lalita possesses a large repertoire of...
Mateo Cano and Maria Puentes Flores
Musicians Mateo Cano and Maria Puentes Flores are founders of the musical ensemble, Pulso de Barro, or "pulse of the clay," that performs the Son Jarocho music from the Mexican state of Veracruz. Son Jarocho is a highly rhythmic musical style that came about through...
In Praise of Women
At nineteen, Maeve Flanagan is one of the
finest young Irish fiddlers in New York and
the world. Daughter of fiddler and multi-instrumentalist
Mike Flanagan—“My dad
knows every tune imaginable,” says Maeve—
and fiddle player and teacher Rose Conway
Flanagan, Maeve is well aware of the Irish
American musical and cultural legacy she
has inherited:
Play
In the years before the Revolution made it
America’s patriotic anthem, “Yankee Doodle”
was a song of derision that the British
heaped upon ignorant colonists hoping to
attain foppish stature by aping English gentlemen.
Upstate
A
new web site that we recently launched at Traditional
Arts in Upstate New York (TAUNY),
which we call “W is for the Woods”: Traditional
Adirondack Music and Music-Making.
Located at www.northcountryfolklore.org, it’s
a very impressive piece of work, a thorough
introduction to the traditional music of our
region, collected over a period of at least 75
years.
Xiao Xiannian:
It was a beautiful spring day in Chinatown when I stopped by the Mencius Society to talk with Xiao Xiannian, a virtuoso of the Chinese hammered dulcimer known as the yangqin. Housed in a building on Grand Street near its intersection with Delancey, the Mencius Society—also known as the AiCenter, formerly the Wossing Center—provides instruction in Chinese and Western musical instruments, as well as a number of other arts education programs for youth and adults. It is also the home base of the EastRiver Ensemble, one of New York’s leading Chinese music groups.
Songs
New York City is special by any measure.
Who would think that “Finnegan’s Wake”—
immortalized by James Joyce, the ultimate
Dubliner—was actually written in Manhattan?
It’s true. John F. Poole, a theater manager and
writer, composed “Tim Finigan’s Wake” for
the singer-entrepreneur Tony Pastor sometime
around the beginning of the Civil War. It appears
in Pastor’s “444” Combination Songster, first
published in 1864…
Diego Obregón:
It was another dog day in August 2009 when we joined Diego Obregón for an interview at his Woodhaven, Queens, apartment. Diego kindly agreed to meet us at his home so that he could play a few tunes from his native Colombia, along with his vocalist Johanna Casteñeda. There in the basement, over the hum of the air conditioner, the sounds from his marimba (wood xylophone) were magical—all at once playful and effervescent—and with Johanna singing the traditional tune “Mi Canoita,” the sounds from Colombia’s Pacific coast spilled out over hot pavement.
The Vodou Kase:
Focusing inquiry on the kase, a drum pattern strongly associated with spirit possession, I compare episodes of transcendence that occur in Hall’s class [Pat Hall Dance and Movement Class, Brooklyn] with possessions that occur during the rites of Afro-Haitian Vodou, during acoustically similar if not identical performances. Reflections derive from documentation of classes; interviews with the instructor, lead drummer, and selected students; and my participation in classes. I argue that various experiences of transcendence in the class occupy points on a continuum, that the same may be true in the temple, and that an area of overlap may pertain. These statements challenge the divide between sacred and profane and bring nuance to notions of music and spirituality.
Song
The upcoming 150th anniversary provides
an incentive for those of us who sing, teach,
or write to conduct some research into Civil
War songs. Because the Civil War years coincide
with the rise of the American song
publishing industry, there is a large vault
through which to sort. Song artifacts relating
to New York are particularly easy to find, in
large part because the national broadside ballad
press was centered close to New York’s
City Hall and was at its zenith between 1861
and 1865.