'The Poetic Genius of my Country...bade me sing the loves, the joys, the rural scenes and rural pleasures of my natal Soil, in my native tongue.' Many of the poems and songs of Robert Burns (1759-96) are familiar to readers the world over: lyrical, acerbic, comic, bawdy, democratic. They include 'To a Mouse', 'John Anderson my Jo', 'A red red Rose', 'Auld lang syne', 'Tam o 'Shanter' and many more, whose vernacular energy and simple beauty have ensured lasting popularity. This generous new selection offers Burns's work as it was first encountered by contemporary readers, presenting the texts in the contexts in which they were originally published. It reproduces the whole of Poems, chiefly in the Scottish Dialect published at Kilmarnock in 1786, the volume which made Burns famous; and it reunites a generous selection of songs from The Scots Musical Museum and A Select Collection of Scottish Airs with their full scores. Comprehensive notes describe the circumstances in which other poems and songs found their way into print, both before and after the poet's death. The edition also includes some important letters, and a full glossary to explain Scots words. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Ethnomusicologist Moshe Beregovski offers insights into Soviet and Jewish history and general musicology and presents the notes and lyrics of nearly three hundred folk songs.

Here, translated into English for the first time, is a cultural record the folk music of Eastern Europe. This volume consists of some of Moshe Beregovski's responses to Jewish folk music in its living context during the 1930s, including essays on Ukrainian musical influences, klezmer music, and characteristic scale patterns. Also included are Beregovski's anthologies of hundreds of folk songs with full Yiddish and English song texts. Each song is carefully notated exactly as it was sung and is accompanied by Beregovski's notes on origins and variants.

Ethnomusicological fieldwork has significantly changed since the end of the the 20th century. Ethnomusicology is in a critical moment that requires new perspecitves on fieldwork - perspectives that are not addressed in the standard guides to ethnomusicological or anthropological method. The focus in ethnomusicological writing and teaching has traditionally centered around analyses and ethnographic representations of musical cultures, rather than on the personal world of understanding, experience, knowing, and doing fieldwork. Shadows in the Field deliberately shifts the focus of ethnomusicology and of ethnography in general from representation (text) to experience (fieldwork). The "new fieldwork" moves beyond mere data collection and has become a defining characteristic of ethnomusicology that engages the scholar in meaningful human contexts.
In this new edition of Shadows in the Field, renowned ethnomusicologists explore the roles they themselves act out while performing fieldwork and pose significant questions for the field: What are the new directions in ethnomusicological fieldwork? Where does fieldwork of "the past" fit into these theories? And above all, what do we see when we acknowledge the shadows we cast in the field?
The second edition of Shadows in the Field includes updates of all existing chapters, a new preface by Bruno Nettl, and seven new chapters addressing critical issues and concerns that have become increasingly relevant since the first edition.

The intertribal pow-wow is the most widespread venue for traditional Indian music and dance in North America. Heartbeat of the People is an insider's journey into the dances and music, the traditions and regalia, and the functions and significance of these vital cultural events. Tara Browner focuses on the Northern pow-wow of the northern Great Plains and Great Lakes to investigate the underlying tribal and regional frameworks that reinforce personal tribal affiliations. Interviews with dancers and her own participation in pow-wow events and community provide fascinating on-the-ground accounts and provide detail to a rare ethnomusicological analysis of Northern music and dance.

Erin Osmon presents a detailed, human account of the Rust Belt-born musician Jason Molina-a visionary, prolific, and at times cantankerous singer-songwriter with an autodidactic style that captivated his devoted fans. The songwriting giant behind the bands Songs: Ohia and Magnolia Electric Co. had a knack for spinning tales, from the many personal myths he cultivated throughout his life to the poems and ballads he penned and performed. As with too many great musicians, Molina's complicated relationship with the truth, combined with a secretive relationship with the bottle, ultimately claimed his life. With a new foreword from singer-songwriter Will Johnson, Jason Molina: Riding with the Ghost details Molina's personal trials and triumphs and reveals for the first time the true story of Molina's last months and works, including an unpublished album unknown to many of his fans. Offering unfettered access to the mind and artistry of Molina through exclusive interviews with family, friends, and collaborators, the book also explores the Midwest music underground and the development of Bloomington, Indiana-based label Secretly Canadian. As the first authorized and detailed account of this prolific songwriter and self-mythologizer, Jason Molina provides readers with unparalleled insight into Molina's tormented life and the fascinating Midwest musical underground that birthed him. It's a story for the ages that speaks volumes to the triumphs and trials of the artistic spirit while exploring the meaningful music that Molina's creative genius left behind.

The fast-paced zouk of Kassav', the romantic biguine of Malavoi, the jazz of Fal Frett, the ballads of Mona, and reggae of Kali and Poglo are all part of the burgeoning popular music scene in the French Caribbean. In this lively book, Brenda F. Berrian chronicles the rise of this music, which has captivated the minds and bodies of the Francophone world and elsewhere.
Based on personal interviews and discussions of song texts, Berrian shows how these musicians express their feelings about current and past events, about themselves, their islands, and the French. Through their lyrical themes, these songs create metaphorical "spaces" that evoke narratives of desire, exile, subversion, and Creole identity and experiences. Berrian opens up these spaces to reveal how the artists not only engage their listeners and effect social change, but also empower and identify themselves. She also explores the music as it relates to the art of drumming, and to genres such as African American and Latin jazz and reggae. With "Awakening Spaces, " Berrian adds fresh insight into the historical struggles and arts of the French Caribbean.

Sad songs and love songs. For Vietnamese refugees who fled Vietnam after the 1975 takeover by the Viet Cong, the predominant music of choice falls into these two general categories rather than any particular musical genre. In fact, Adelaida Reyes discovers, music that exiles call \u0022Vietnamese music\u0022 -- that is, music sung in Vietnamese and almost exclusively written before 1975 -- includes such varied influences as Western rock, French-derived valse, Latin chacha, tango, bolero, an d paso doble. The Vietnamese refugee experience calls attention to issues commonly raised by migration: the redefinition of group relations, the reformulation of identity, and the reconstruction of social and musical life in resettlement. Fifteen years ago, Adelaida Reyes began doing fieldwork on the musical activities of Vietnamese refugees. She entered the emotion-driven world of forced migrants through expressive culture; learned to see the lives of refugee-resettlers through the music they made and enjoyed; and, in turn, gained a deeper understanding of their music through knowledge of their lives. In Songs of the Caged, Songs of the Free, Reyes brings history, politics, and decades of research to her study of four resettlement communities, including refugee centers in Palawan and Bataan; the early refugee community in New Jersey; and the largest of all Vietnamese communities -- Little Saigon, in southern California's Orange County. Looking closely at diasporic Vietnamese in each location, Reyes demonstrates that expressive culture provides a valuable window into the refugee experience. Showing that Vietnamese immigrants deal with more than simply a new country and culture in these communities, Reyes considers such issues as ethnicity, socio-economic class, and differing generations. She considers in her study music of all kinds -- performed and recorded, public and private -- and looks at music as listened to and performed by all age groups, including church music, club music, and music used in cultural festivals. Moving from traditional folk music to elite and modern music and from the recording industry to pirated tapes. Reyes looks at how Vietnamese in exile struggled, in different ways, to hold onto a part of their home culture and to assimilate into their new, most frequently American, culture. Songs of the Caged, Songs of the Free will attract the attention of readers in Asian American studies, Asian studies, music, and ethnomusicology.

'The definitive, scrupulously researched biography of a life steeped in mystery' Observer The definitive biography of one contemporary culture's most iconic and mysterious figures - musical revolutionary, Nobel Prize-winner, chart-topping recording artist In 2016 it was announced that Bob Dylan had sold his personal archive to the George Kaiser Foundation in Tulsa, Oklahoma, reportedly for $22 million. As the boxes started to arrive, the Foundation asked Clinton Heylin - author of the acclaimed Bob Dylan: Behind the Shades and 'perhaps the world's authority on all things Dylan' (Rolling Stone) - to assess the material they had been given. What he found in Tulsa - as well as what he gleaned from other papers he had recently been given access to by Sony and the Dylan office - so changed his understanding of the artist, especially of his creative process, that he became convinced that a whole new biography was needed. It turns out that much of what previous biographers - Dylan himself included - have said is wrong; often as not, a case of, Print the Legend. With fresh and revealing information on every page A Restless, Hungry Feeling tells the story of Dylan's meteoric rise to fame: his arrival in early 1961 in New York, where he is embraced by the folk scene; his elevation to spokesman of a generation whose protest songs provide the soundtrack for the burgeoning Civil Rights movement; his alleged betrayal when he 'goes electric' at Newport in 1965; his subsequent controversial world tour with a rock 'n' roll band; and the recording of his three undisputed electric masterpieces: Bringing it All Back Home, Highway 61 Revisited and Blonde on Blonde. At the peak of his fame in July 1966 he reportedly crashes his motorbike in Woodstock, upstate New York, and disappears from public view. When he re-emerges, he looks different, his voice sounds different, his songs are different. That other story will be told in Volume 2, to be published in autumn 2022. Clinton Heylin's meticulously researched, all-encompassing and consistently revelatory account of these fascinating early years is the closest we will ever get to a definitive life of an artist who has been the lodestar of popular culture for six decades.

Patrick 'Paddy' Reilly is an Irish folk singer and guitarist. Born in Rathcoole, County Dublin, he is one of Ireland's most famous balladeers and is best known for his renditions of "The Fields of Athenry", "Rose of Allendale" and "The Town I Loved So Well". Reilly released his version of "The Fields of Athenry" as a single in 1983; it was the most successful version of this song, remaining in the Irish charts for 72 weeks. After years a solo performer, he joined The Dubliners in 1996 as a replacement for long-time member Ronnie Drew. He played with the group for nine years before leaving for New York City. In this memoir, Paddy is gracious and generous about sharing his memories, good and bad, with the readers who have helped make him Ireland's best loved balladeer for almost 60 years.

This comprehensive book contains over 100 Celtic tunes arranged for solo fingerstyle guitar. This edition is derived from a collection of nearly 300 arrangements Glenn Weiser has created over the last twenty years.

Since the 1960s historical studies of European folk and traditional music have had a centre in the 'Study Group on Historical Sources of Folk Music' within the International Council for Traditional Music (ICTM). The new political situation in Europe in the 1990s has given this work topical interest, since folk and traditional music is often an important component in ethnic or even national identity. The Study Group held its eleventh conference in Copenhagen at the Danish Folklore archives (Dansk Folkemindesamling) from 24 to 28 April 1995. The local organisers of the meeting were Jens Henrik Koudal and Svend Nielsen. Around 30 participants from 15 countries (Austria, Belgium, Bulgaria, Croatia, Denmark, Germany, Hungary, Italy/Albania, Latvia, Lithuania, Norway, Poland, Romania and Sweden) attended the conference, presenting recent results of their research. The meeting concentrated on historical aspects of the following topics: (I) 'Traditional Music Between Urban and Rural Communities', and (II) 'Music and Working'. MAIN HEADINGS: Preface; THEME ONE -- Traditional Music Between Urban and Rural Communities; Central Europe; Balkans; On the Borderlines and Outside Europe. THEME TWO -- Music and Working.

Theodore Levin takes readers on a journey through the rich sonic world of inner Asia, where the elemental energies of wind, water, and echo; the ubiquitous presence of birds and animals; and the legendary feats of heroes have inspired a remarkable art and technology of sound-making among nomadic pastoralists. As performers from Tuva and other parts of inner Asia have responded to the growing worldwide popularity of their music, Levin follows them to the West, detailing their efforts to nourish global connections while preserving the power and poignancy of their music traditions.

Businessman, politician, broadcasting personality, and newspaper publisher, Cas Walker (1902-1998) was, by his own estimation, a "living legend" in Knoxville for much of the twentieth century. Renowned for his gravelly voice and country-boy persona, he rose from blue-collar beginnings to make a fortune as a grocer whose chain of supermarkets extended from East Tennessee into Virginia and Kentucky. To promote his stores, he hosted a local variety show, first on radio and then TV, that advanced the careers of many famed country music artists from a young Dolly Parton to Roy Acuff, Chet Atkins, and Bill Monroe. As a member of the Knoxville city council, he championed the "little man" while ceaselessly irritating the people he called the "silk-stocking crowd." This wonderfully entertaining book brings together selections from interviews with a score of Knoxvillians, various newspaper accounts, Walker's own autobiography, and other sources to present a colorful mosaic of Walker's life. The stories range from his flamboyant advertising schemes-as when he buried a man alive outside one of his stores-to memories of his inimitable managerial style-as when he infamously canned the Everly Brothers because he didn't like it when they began performing rock 'n' roll. Further recollections call to mind Walker's peculiar brand of bare-knuckle politics, his generosity to people in need, his stance on civil rights, and his lifelong love of coon hunting (and coon dogs). The book also traces his decline, hastened in part by a successful libel suit brought against his muckraking weekly newspaper, the Watchdog. It's said that any Knoxvillian born before 1980 has a Cas Walker story. In relating many of those stories in the voices of those who still remember him, this book not only offers an engaging portrait of the man himself and his checkered legacy, but also opens a new window into the history and culture of the city in which he lived and thrived.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Many critics have interpreted Bob Dylan's lyrics, especially those composed during the middle to late 1960s, in the contexts of their relation to American folk, blues, and rock'n'roll precedents; their discographical details and concert performances; their social, political and cultural relevance; and/or their status for discussion as "poems." Dylan's Autobiography of a Vocation instead focuses on how all of Dylan's 1965-1967 songs manifest traces of his ongoing, internal "autobiography" in which he continually declares and questions his relation to a self-determined existential summons.

Recorded in 1949, "Foggy Mountain Breakdown" changed the face of American music. Earl Scruggs's instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass's entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television. Thomas Goldsmith explores the origins and influence of "Foggy Mountain Breakdown" against the backdrop of Scruggs's legendary career. Interviews with Scruggs, his wife Louise, disciple Bela Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs's musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of "Foggy Mountain Breakdown" helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.Passionate and long overdue, Earl Scruggs and Foggy Mountain Breakdown takes readers on an ear-opening journey into two minutes and forty-three seconds of heaven.

Francis James Child, compiler and editor of the monumental English and Scottish Popular Ballads, established the scholarly study of folk ballads in the English-speaking world. His successors at Harvard University, notably George Lyman Kittredge, Milman Parry, and Albert B. Lord, discovered new ways of relating ideas about sung narrative to the study of epic poetry and what has come to be called-though not without controversy-"oral literature." In this volume, sixteen distinguished scholars from Europe and the United States offer original essays in the spirit of these pioneers. The topics of their studies include well-known "Child Ballads" in their British and American forms; aspects of the oral literatures of France, Ireland, Scandinavia, medieval England, ancient Greece, and modern Egypt; and recent literary ballads and popular songs. Many of the essays evince a concern with the theoretical underpinnings of the study of folklore and literature, orality and literacy; and as a whole the volume reestablishes the European ballad in the wider context of oral literature. Among the contributors are Albert B. Lord, Bengt R. Jonsson, Gregory Nagy, David Buchan, Vesteinn Olason, and Karl Reichl.

The story of the banjo's journey from Africa to the western hemisphere blends music, history, and a union of cultures. In Banjo Roots and Branches, Robert B. Winans presents cutting-edge scholarship that covers the instrument's West African origins and its adaptations and circulation in the Caribbean and United States. The contributors provide detailed ethnographic and technical research on gourd lutes and ekonting in Africa and the banza in Haiti while also investigating tuning practices and regional playing styles. Other essays place the instrument within the context of slavery, tell the stories of black banjoists, and shed light on the banjo's introduction into the African- and Anglo-American folk milieus. Wide-ranging and illustrated with twenty color images, Banjo Roots and Branches offers a wealth of new information to scholars of African American and folk musics as well as the worldwide community of banjo aficionados. Contributors: Greg C. Adams, Nick Bamber, Jim Dalton, George R. Gibson, Chuck Levy, Shlomo Pestcoe, Pete Ross, Tony Thomas, Saskia Willaert, and Robert B. Winans.

In this provocative book, Jon Michael Spencer offers a new paradigm for the study of African American music. Proceeding from the proposition that black culture in America cannot be considered apart from its religious and philosophical roots, Spencer argues that ""theology and musicology serving together"" can form the basis of a holistic, integrative approach to black music and, indeed, to black culture in all its aspects. As he shows in his opening chapters, Spencer's scholarly method - theomusicology - derives from two fundamental, intertwined attributes of African American culture: its underlying rhythmicity and its thoroughly religious nature. The author then applies this approach, in successive chapters, to the folk, popular, and classical music produced by black Americans. Finally, he considers the ethical implications that this ""re-searching"" of black music uncovers. ""(A) spiritual archaeology of music leads to a recognition that we are estranged from ourselves"", he writes. ""This estrangement has occurred by virtue of our maintaining a doctrine of belief that sides the sacred, spiritual, and religious in respective opposition to the profane, sexual, and cultural. The recognition of this estrangement should propel us toward reconciliation, for it is the natural impulse of the ethical agent to resolve life's tensions in pursuit of human happiness"".

At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. In Sounds of the New Deal , Peter Gough explores how the FMP's activities in the West shaped a new national appreciation for the diversity of American musical expression. From the onset, administrators and artists debated whether to represent highbrow, popular, or folk music in FMP activities. Though the administration privileged using "good" music to educate the public, in the West local preferences regularly trumped national priorities and allowed diverse vernacular musics to be heard. African American and Hispanic music found unprecedented popularity while the cultural mosaic illuminated by American folksong exemplified the spirit of the Popular Front movement. These new musical expressions combined the radical sensibilities of an invigorated Left with nationalistic impulses. At the same time, they blended traditional patriotic themes with an awareness of the country's varied ethnic musical heritage and vast--but endangered--store of grassroots music.

Transatlantic Roots Music presents a collection of essays on the debates about origins, authenticity, and identity in folk and blues music. These essays originated in an international conference on the Transatlantic paths of American roots music, out of which emerged common themes and questions of origins and authenticity in folk music, be it black or white, American or British. While the central theme of the collection is musical influences, issues of national, local, and racial identity are also recurring subjects. Were these identities invented, imagined, constructed by the performers, or by those who recorded the music for posterity?The book features a new essay on the blues by Paul Oliver alongside an essay on Oliver's seminal blues scholarship. There are also several essays on British blues and the links between performers and styles in the United States and Britain. And there are new essays on critical figures such as Alan Lomax and Woody Guthrie. This volume uniquely offers perspectives from both sides of the Atlantic on the interplay of influences in roots music and the debates about these subjects. The book draws on the work of eminent, established scholars and emerging, young academics who are already making a contribution to the field. Throughout, contributors offer the most recent scholarship available on key issues.

Unearthing Gender is a compelling ethnographic analysis of folksongs sung primarily by lower-caste women in north India, in the fields, at weddings, during travels, and in other settings. Smita Tewari Jassal uses these songs to explore how ideas of caste, gender, sexuality, labor, and power may be strengthened, questioned, and fine-tuned through music. At the heart of the book is a library of songs, in their original Bhojpuri and in English translation, framed by Jassal's insights into the complexities of gender and power.The significance of these folksongs, Jassal argues, lies in their suggesting and hinting at themes, rather than directly addressing them: women sing what they often cannot talk about. Women's lives, their feelings, their relationships, and their social and familial bonds are persuasively presented in song. For the ethnographer, the songs offer an entry into the everyday cultures of marginalized groups of women who have rarely been the focus of systematic analytical inquiry.

Perhaps no instrument better represents the music of Appalachia than the fretted dulcimer. The instrument was no longer confined to back porches and local music halls when Jean Ritchie so melodically thrust herself and her dulcimer into the national limelight during the folk revival of the 1950s. But where did the dulcimer, known to exist in no other folk culture in the world, come from? In The Story of the Dulcimer, Ralph Lee Smith traces the dulcimer's beginnings back to European immigration to America in the eighteenth and early nineteenth centuries. As German immigrants settled in Pennsylvania and Appalachia, they brought with them scheitholts, a type of northern European fretted zither. As German immigrants intermingled with English and Scotch-Irish immigrants, the scheitholt, which was customarily played to a slower tempo in German cultural music, began to be musically integrated into the faster tempos of English and Scotch-Irish ballads and folk songs. As Appalachia absorbed an increasing flow of English and Scotch-Irish immigrants and the musical traditions they brought with them, the scheitholt steadily evolved into an instrument that reflected this folk music amalgamation, and the modern dulcimer was born. In this second edition, Smith brings the dulcimer's history into the twenty-first century with a new preface and updates to the original edition. Copiously illustrated with images of both antique scheitholts and contemporary dulcimers, The Story of the Dulcimer is a testament to the enduring musical heritage of Appalachia and solves one of the region's musical mysteries.

From a small mountain town in West Virginia, elder fiddler Melvin Wine has inspired musicians and music enthusiasts far beyond his homeplace. Music, community, and tradition influence all aspects of life in this rural region. Fiddling Way Out Yonder: The Life and Music of Melvin Wine shows how in Wine's playing and teaching all three have created a vital and enduring legacy. Wine has been honored nationally for his musical skills and his leadership role in an American musical tradition. A farmer, a coal miner, a father of ten children, and a deeply religious man, he has played music from the hard lessons of his own experience and shaped a musical tradition even while passing it to others. Fiddling Way Out Yonder examines the fiddler, his music, and its context from a variety of perspectives. Many rousing fiddlers came from isolated mountain regions like Melvin's home stomp. The book makes a point to address the broad historical issues related both to North American fiddling and to Wine's personal history. Wine has spent almost all of his ninety-two years in rural Braxton County, an area where the fiddle and dance traditions that were strong during his childhood and early adult life continue to be active today. Utilizing models from folklore studies and ethnomusicology, Fiddling Way Out Yonder discusses how community life and educational environment have affected Melvin's music and his approaches to performance. Such a unique fiddler deserves close stylistic scrutiny. The book reveals Wine's particular tunings, his ways of holding the instrument, his licks, his bowing techniques and patterns, his tune categories, and his favorite keys. The book includes transcriptions and analyses of ten of Melvin's tunes, some of which are linked to minstrelsy, ballad singing traditions, and gospel music. Narratives discuss the background of each tune and how it has fit into Melvin's life. While his music is tied to community and family traditions, Melvin is a unique and complex person. This biography heralds a musician who wants both to communicate the spirit of his mountains and to sway an audience into having an old-fashioned good time.

John H. McDowell provides an in-depth look at the Mexican ballad form known as the corrido, a body of poetry that draws from violence for its subject matter. Through interviews with male and female corrido composers and performers, plus a generous sampling of ballad texts, McDowell reveals a living vernacular tradition that chronicles local and regional rivalries and spawned the narcocorrido, ballads set in the drug trade and particularly popular along the Rio Grande border. Detailed and rife with social and cultural implications, Poetry and Violence is a compelling commentary on violence as both human experience and communicative action.