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Amaryllis Arna Rennan Barra Bells of the North Morris Dancers Ben Fairbanks Bill Hinkley and Judy Larson Blackbirds Blanche Krbechek Bob Bovee and Gail Heil Bounxou Chanthraphone Bruce Bradley Band CAAM Chinese Dance Theater Carla Vogel Clairseach Creative Theatre Unlimited Dance Revels Moving History Danielle Daniel and Co. Debra Korluka Delores G. Matthews Det Norske Folkedanslaget Diane Jarvi Dolina Polish Folk Dancers Domácí Czech Folk Dancers Drei Groschen Klezmorim Elise M. Schebler Roberts Elizabeth (Becky) Weis Emeline Dziabas Cook Ervey P. Shelley Ethnic Dance Theatre Folk Orchestra, The Finn Hall/Minnesota Pelimannit Flanagan Irish Dancers Flickorna Fem Freshwater Pearls Puppetry Gao Hong Gladys J. Shelley Greenwood Tree Harlen Schmitgen HjerteDans Jim Busta Band John Filipczak and the Classics Joy Parker Karen Jenson Karen Mueller Karen Torkelson Solgård Kip Peltoniemi Konstantinos Papadakis Laura MacKenzie Leo and Kathy Lara Les Harkonen Group Les Schuft and Country Dutchmen Band Linda Breitag Linda Wade Koslowski Lipa Slovak Folk Dancers Mag McDermott Marcie McIntire Mariachi Flor Y Canto Mariachi Serenata Mary Klockeman Mary Reed Matt Vorderbruggen Band Melinda Brobeck Minnesota Chinese Dance Theater Minnesota Scandinavian Ensemble, The Minnesota Scottish Celtic Dance Association Monroe Crossing Montgomery Czech Singers Mooncoin Céilí Dancers Music-On-A-String Nancy Ellison Nordic Angst Norse Folk North Country Fiddle and Dance Paddy O'Brien Paul Wilson and Mary Abendroth Peter and Paul Wendinger Band Piper's Crow Que Huong Rachel Nelson Robayat Robert Hoover Rosemary Lang Roehl Ross Sutter Royal Scottish Country Dance Society Salamat Shakun Maheshwari Sister Cecilia Schmitt Skålmusik Tibetan American Foundation of Minnesota Valeriy Saakian Voices of Sepharad Walter Grittner Wee Willie Band - Bill Makovsky Wild Goose Chase Cloggers, The Zhang Ying |
Additional Information: The Celtic and Appalachian styles at the heart of Karen's repertoire have had a long presence in American traditional music. Since the time of the folk revival in the middle of the 20th Century, both styles have grown in popularity. Appalachian and Celtic music can be heard at community dances and jam sessions, at festivals, in bars and clubs, and at workshops. Through events at such venues, many people have been inspired to learn these musical forms, and a vibrant network of performers has emerged. Karen Mueller was first drawn to this music when she attended the Walnut Valley Festival in her hometown of Winfield, Kansas. She was impressed by the performances there, and drawn to the sense of community among the players. Soon thereafter, she was introduced to the autoharp and mountain dulcimer. The autoharp was invented by a German-American in the 1880s, and it soon became a popular parlor instrument throughout the U.S. While it fell out of fashion in much of the country, it survived in Appalachia, and was brought back into the mainstream through the recordings of the Carter Family in the 1930s and 40s. Today it is best known as an Appalachian instrument, but musicians representing diverse traditions play many kinds of music on it. The mountain dulcimer's origins are less clear, but similar instruments have been found in Germany, France and Sweden. Karen and her father built her first dulcimer, and her early experience with both instruments came from listening to historic field recordings and those of more contemporary players. There was nobody in her area able to teach her the styles that she found interesting, so she taught herself to play. Since that time, Karen has spent a good deal of time in the South, traveled to Ireland, and learned firsthand from many musicians along the way. She continues to add to her repertoire tunes that she learns by ear or writes herself. Karen plays and teaches mountain dulcimer, guitar and mandolin, but she is most acclaimed for her skills on the autoharp. In 1986, she won the International Autoharp Championship, and today she is widely regarded as "one of the top autoharp players in the world" (Autoharpaholic magazine). Her dynamic fingerpicking style produces music that is energetic, while at the same time lush and harmonic. She is often invited to play at festivals and give workshops in locations throughout the country, but she also enjoys playing for small audiences at local concerts and school programs. Karen is also a frequent participant in Irish jam sessions, and she performs as a member of the Celtic band Piper's Crow. | |||