Much has been written about the songs gathered in North America in the first half of the 20th century. However, there is scant information on those individuals responsible for gathering these songs. The Ballad Collectors of North America: How Gathering Folksongs Transformed Academic Thought and American Identity fills this gap, documenting the efforts of those who transcribed and recorded North American folk songs. Both biographical and topical, this book chronicles not only the most influential of these song catchers but also examines the main schools of thought on the collection process, the leading proponents of those schools, and the projects that they shaped. Contributors also consider the role of technology especially the phonograph in the collection efforts. Chapters organized by region cover such areas as Appalachia, the West, and Canada, while others devoted to specialized topics from the cowboy tune and occupational song to the commercialization of folk music through song collections and anthologies. Ballad Collectors investigates the larger role of the ballad in the development of American identity, from the national appreciation of cowboy songs in popular culture to the use of Appalachian song forms in radio broadcasts to the role of dustbowl ballads in the urban folk revival of the 1950s and 1960s. Finally, this collection assesses the changing role of songs and song texts in the academic fields of folklore, anthropology, musicology, and ethnomusicology. Scholars and students of American cultural and social history, as well as fans of North American folk and popular music, will find The Ballad Collectors of North America a fascinating story of how the American folk tradition gained greater visibility, fueling the revolutions that would follow in the writing and performance of American music.

This book offers an overview of issues related to the regulated, formal organization of sound and speech in verse intended for singing. Particularly, it is concerned with the structural properties and underlying mechanisms involved in the association of lyrics and music. While in spoken verse the underlying metrical scheme is grounded in the prosody of the language in which it is composed, in sung verse the structure is created by the mapping of specific prosodic units of the text (syllables, moras, tones, etc.) onto the rhythmic-melodic structure provided by the tune. Studying how this mapping procedure takes place across different musical genres and styles is valuable for what it can add to our knowledge of language and music in general, and also for what it can teach us about individual languages and poetic traditions. In terms of empirical coverage, the collection includes a wide variety of (Western) languages and metrical/musical forms, ranging from the Latin hexameter to the Norwegian stev, from the French chant courtois to the Sardinian mutetu longu. Readers interested in formal analyses of vocal music, or in metrics and linguistics, will find useful insights here.

Contributions by Tina Bucuvalas, Anna Caraveli, Aydin Chaloupka, Sotirios (Sam) Chianis, Frank Desby, Stavros K. Frangos, Stathis Gauntlett, Joseph G. Graziosi, Gail Holst-Warhaft, Michael G. Kaloyanides, Panayotis League, Roderick Conway Morris, National Endowment for the Arts/National Heritage Fellows, Nick Pappas, Meletios Pouliopoulos, Anthony Shay, David Soffa, Dick Spottswood, Jim Stoynoff, and Anna Lomax Wood Despite a substantial artistic legacy, there has never been a book devoted to Greek music in America until now. Those seeking to learn about this vibrant and exciting music were forced to seek out individual essays, often published in obscure or ephemeral sources. This volume provides a singular platform for understanding the scope, practice, and development of Greek music in America through essays and profiles written by principal scholars in the field. Greece developed a rich variety of traditional, popular, and art music that diasporic Greeks brought with them to America. In Greek American communities, music was and continues to be an essential component of most social activities. Music links the past to the present, the distant to the near, and bonds the community with an embrace of memories and narrative. From 1896 to 1942, more than a thousand Greek recordings in many genres were made in the United States, and thousands more have appeared since then. These encompass not only Greek traditional music from all regions, but also emerging urban genres, stylistic changes, and new songs of social commentary. Greek Music in America includes essays on all of these topics as well as history and genre, places and venues, the recording business, and profiles of individual musicians. This book is required reading for anyone who cares about Greek music in America, whether scholar, fan, or performer.

For the many poor and working-class Northeastern Brazilians who have been displaced from their home region for economic reasons, the music of forro is a redemptive attempt at establishing an immanent relationship to history and community in the diaspora. The redemption explored in this book is multifaceted, including a desire to return home as part of a larger workforce in a sustainable economy, the desire to see the region's rich culture celebrated throughout Brazil, and to ensure that its traditional legacies are both preserved and further enriched through respectful innovation. The acute perceptiveness of forro musicians in portraying the diasporic experience of Northeastern Brazilians is elaborated in various chapters, including: one chapter focused on lyrical, musical, and collective representations or manifestations of diasporic nostalgia (saudade), another chapter analyzing the lyrico-musical representation of rural workers' alienation from - and resistance to - life in the urban centers, and a third chapter which contextualizes forro's descriptions of the experiences of Brazil's internal migrants, utilizing an array of testimonials and academic studies on the subject of interregional migration to reveal both the wisdom of forro lyricists and some of their blind spots. The study also includes a historical analysis of this Northeastern genre's transformation from a rhythm called baiao that symbolically represented the Northeast as a simple, coherent entity, to forro, a more allegorical representation with a greater appreciation for the class, gender, racial, and generational complexity of the region. The development of the genre, as well as the circulation of theory related to cultural production and identity, are contextualized in a global economy.

(Waltons Irish Music Books). For over 20 years, Waltons classic ballad books have consistently outsold all others. When they first appeared in 1981, Dan Cohen of Dublin's Evening Herald newspaper wrote: "There are so many fine points to these books that they almost bear indexing." Each volume in this beautifully produced four-volume series is packed with 50 old favorites and modern classics, including songs made famous throughout the world by Mary Black, Christy Moore, The Dubliners, The Clancy Brothers, Paddy Reilly and a host of others. Each book includes charming, hand-tinted period photographs, depicting scenes of Ireland's bygone days. Includes: Arthur McBride * Biddy Mulligan * The Boys of Fairhill * Finnegan's Wake * The Galway Races * The Galway Shawl * The Homes of Donegal * Katie * The Leaving of Liverpool * Lough Sheelin Side * Love Is Teasing * The Merry Ploughboy * Whiskey in the Jar * The Water Is Wide * The Spanish Lady * Only Our Rivers * Nora * The Sash Me Father Wore * Sam Hall * The Patriot Game * Mystic Lipstick * Take Me Up to Monto * and many more.

While Fernando Ortiz's contribution to our understanding of Cuba and Latin America more generally has been widely recognized since the 1940s, recently there has been renewed interest in this scholar and activist who made lasting contributions to a staggering array of fields. This book is the first work in English to reassess Ortiz's vast intellectual universe. Essays in this volume analyze and celebrate his contribution to scholarship in Cuban history, the social sciences notably anthropology and law, religion and national identity, literature, and music. Presenting Ortiz's seminal thinking, including his profoundly influential concept of 'transculturation', Cuban Counterpoints explores the bold new perspectives that he brought to bear on Cuban society. Much of his most challenging and provocative thinking which embraced simultaneity, conflict, inherent contradiction and hybridity has remarkable relevance for current debates about Latin America's complex and evolving societies."

A series of little books of short carefully graded folk tunes beginning with the simplest passages and progressing to more difficult leaps, rhythms, chromatics, and modulations. The later books introduce two-part sight singing.

With Bob Dylan's receipt of the Nobel Prize in Literature, his iconic status as an American musical, cultural, and poetic giant has never been more apparent. Bob Dylan: American Troubadour is the first book to look at Dylan's career, from his first album to his late masterpiece Tempest. Donald Brown provides insightful critical commentary on Dylan's prolific body of work, placing Dylan's career in the context of its time in order to assess the relationship of Dylan's music to contemporary American culture. Each chapter follows the shifting versions of Dylan, from his songs of conscientious social involvement to more personal exploratory songs; from his influential rock albums of the mid-1960s to his adaptations of country music; from his three very different tours in the 1970s to his "born again" period as a proselytizer for Christ and his frustrations as a recording and performing artist in the 1980s; from his retrospective importance in the 1990s to the refreshingly vital albums he has been producing in the twenty-first century. Bob Dylan: American Troubadour will engage not only Dylan fans and students of his work but also those interested in American popular music, history, and culture. Anyone who has been touched, challenged, or surprised by a Dylan song will enjoy this concise and informed critical exploration of Dylan's music and his place in the American musical landscape.

Born in South Carolina, White spent his childhood as a "lead boy" for traveling blind bluesmen. In the early '30s he moved to New York and became a popular blues star, then introduced folk-blues to a mass white audience in the 1940s. He was famed both for his strong Civil Rights songs, which made him a favorite of the Roosevelts, and for his sexy stage persona. The king of Café Society-also home to Billie Holiday--he was the one bluesman to consistently pack the New York nightspots, and the first black singer-guitarist to act in Hollywood films and star on Broadway.
In the 1950s, White's bitter compromise with the blacklisters left him with few friends on either end of the political spectrum. He spent much of the decade in Europe, then came back strong in the 1960s folk revival. By 1963, he was voted one of America's top three male folk stars, but his health was failing and he did not survive the decade.
Written in an engaging style, Society Blues portrays the difficult balancing act that all black performers must face in a predominantly white culture. Through the twists and turns of White's life, it traces the evolution of the blues and folk revival, and is a must read for anyone interested in the history of American popular culture, as well as a fascinating life story.

First published in 1975 and long out of print, Folk Songs from the West Virginia Hills is a major work of folklore poised to reach a new generation of readers. Drawing upon Patrick Ward Gainer's extensive ethnographic fieldwork around West Virginia, it contains dozens of significant folk songs, including not only the internationally famous "Child Ballads," but such distinctively West Virginian songs as "The West Virginia Farmer" and "John Hardy," among others. Folk Songs from the West Virginia Hills stands out as a book with multiple audiences. As a musical text, it offers comparatively easy access to a rich variety of folk songs that could provide a new repertoire for Appalachian singers. As an ethnographic text, it has the potential to reintroduce significant data about the musical lives of many West Virginians into conversations around Appalachian music-discourses that are being radically reshaped by scholars working in folklore, ethnomusicology, and Appalachian studies. As a historical document, it gives readers a glimpse into the research methods commonly practiced by mid-twentieth-century folklorists. And when read in conjunction with John Harrington Cox's Folk Songs of the South (also available from WVU Press), it sheds important light on the significant role that West Virginia University has played in documenting the state's vernacular traditions.

Klezmer: Music, History, and Memory is the first comprehensive study of the musical structure and social history of klezmer music, the music of the Jewish musicians' guild of Eastern Europe. Emerging in 16th century Prague, the klezmer became a central cultural feature of the largest transnational Jewish community of modern times - the Ashkenazim of Eastern Europe. Much of the musical and choreographic history of the Ashkenazim is embedded in the klezmer repertoire, which functioned as a kind of non-verbal communal memory. The complex of speech, dance, and musical gesture is deeply rooted in Jewish expressive culture, and reached its highest development in Eastern Europe. Klezmer: Music, History, and Memory reveals the artistic transformations of the liturgy of the Ashkenazic synagogue in klezmer wedding melodies, and presents the most extended study available in any language of the relationship of Jewish dance to the rich and varied klezmer music of Eastern Europe. Author Walter Zev Feldman expertly examines the major sources principally in Russian, Yiddish, Hebrew, and Romanian from the 16th to the 20th centuries, including interviews with authoritative European-born klezmorim conducted over a period of more than thirty years in America, Eastern Europe, and Israel. In its musical analysis, this book draws upon the foundational collections of the late Tsarist and early Soviet periods, plus rare cantorial and klezmer manuscripts from the late 18th to the early 20th centuries.

This book is a one-stop reference resource for the vast variety of musical expressions of the First Peoples' cultures of North America, both past and present. Encyclopedia of Native American Music of North America documents the surprisingly varied musical practices among North America's First Peoples, both historically and in the modern context. It supplies a detailed yet accessible and approachable overview of the substantial contributions and influence of First Peoples that can be appreciated by both native and nonnative audiences, regardless of their familiarity with musical theory. The entries address how ethnomusicologists with Native American heritage are revolutionizing approaches to the discipline, and showcase how musicians with First Peoples' heritage are influencing modern musical forms including native flute, orchestral string playing, gospel, and hip hop. The work represents a much-needed academic study of First Peoples' musical cultures-a subject that is of growing interest to Native Americans as well as nonnative students and readers. Provides print and Internet resources with each entry Presents exclusive information derived from the personal research and fieldwork of the editors Includes a timeline that highlights important developments in First Peoples' musical expressions Supplies an index that allows users to easily look up all of the relevant information on a topic

In 2003, the Korean singing tradition of p'ansori joined the Representative List of the Intangible Cultural Heritage of Humanity, a distinctive honor bestowed by the United Nations Educational, Scientific, and Cultural Organization. P'ansori is a music genre-an oral tradition comprising arias and narratives. Often the individual singer acts out the story of young and old, good and bad, and male and female. In Korean P'ansori Singing Tradition: Development, Authenticity, and Performance History, Yeonok Jang studies the periodical developments and changes in the performance context, vocal developments, singing style, audience involvement, contemporary performance, cinematic history, and private and government sponsorship of p'ansori. Covering the period from the early development of p'ansori, including the origins and early formation of the genre, to contemporary performance, Jang surveys this remarkable genre of storytelling, song, theater, and performance. Throughout, she considers not only issues of historical context but also questions of cultural identity, past and present. Researchers in the fields of Korean studies, folk music, oral history, ethnic music, narrative and theatrical music, and cultural studies will find this work of significant value.

(Limelight). With disciplined lyricism and entirely devoid of technical jargon, Bruce Adolphe's book probes into the heart of such matters as the role of memory and imagination in creative expression, the meaning of inspiration, spirituality in music, the challenge of arts education and how music communicates.

Originally published in 1994. Filling a gap in the sound recordings of traditional Anglo-American folk music this volume covers both vocal and instrumental material from the 1920s to the 1990s. The listings have also been limited to performers native to the tradition rather than "revival" performers. The album selection is grouped into field recordings and commercial (pre-1942) recordings, with subdivisions into individual recordings or anthologies. The discography not only reflects its author's in-depth knowledge of Anglo-American folk music's historical development but charts a valuable step forward in the evaluation, as well as select lissting, of available sound recordings.

Originally published in 1977. The Travellers, from those living in bow-tents and horse-drawn caravans to those dwelling in motor caravans and permanent homes, are an important source of traditional music. Their society means that songs that have died out in more settled communities are preserved among them. Ewan MacColl and Peggy Seeger, widely known as two of the founding singers of the British and American folk revivals, here display a vast fund of folklore scholarship around the songs of British travelling people. Resulting from extensive collecting in southern and southeastern England and central and northeastern Scotland in the 1960s and 70s, this book contains 130 songs with music and comprehensive notes relating them to folkloristic and historical points of interest. It includes traditional ballads and ballads of broadside origin, bawdy, tragic and humorous songs about love, work and death. Most are in English or in Scots dialect with four in Anglo-Romani.

Originally published in 1968. The author, a well-known contemporary and friend of folklorist Katharine M. Briggs, collected a tremendous store of folk music material over many years and eventually decided to put some of it on permanent record. This book comprises a cross-section of rescued melodies dating back to medieval days and up to the Victorian early ballads. It describes individual folk singers in Somerset in great detail as personal accounts and documents their lyrics and their tunes, which are all together at the end of the volume.

Originally published in 1980. Song is perhaps the strongest form of traditional culture. Its vigour and energy represent the power of the community from which it springs. This book focuses on traditional singing in two small English villages. It studies in detail an activity which goes to the core of the communal life in any village and demonstrates how song becomes the lifeblood of the traditions of rural life. In many ways traditional singing is highly subversive because its practice is an affirmation of community and a denial of the fragmentation of modern society. The songs sung, those remembered, the singers now dead whose lives are recalled each time an old favourite is performed, all connect the present with the past. The primary aesthetic concern within these singing traditions is that a man should sing, whatever the objective quality of his performance; and a song should tell a good story. The individual singer assumes a special role in performance since he becomes spokesman for a group and gives voice not only to personal but also to social concerns, dynamics and emotions.

Originally published in 1977. Frances Tolmie (1840-1926) was one of the foremost Gaelic folklore and folksong experts. This account of her life and work places her unique contribution to human song against a full personal, historical and cultural background. The book includes a selection of the songs she heard and wrote down, together with the part they played in her life and that of her circle and the larger community. Moving in a variety of circles, Frances Tolmie experienced the warm domesticity of an enlightened Skye manse, the cultural bustle of upper middle-class Edinburgh 'entrepreneurs', the romantic serious-mindedness of the first Cambridge women students, the sensitive nature-loving community round Ruskin at Coniston, and spent her later sociable years back in Scotland. This book, with its historical introduction by Flora MacLeod and musical introduction by Frank Howes along with Ethel Bassin's own detailed introduction, reflects her profound study of the song and folklore of her people, and describes how she recorded a precious part of British traditional culture, catching it alive and sharing it as truly as possible.

Originally published in 1982. The songs on which this study is based were once vibrant in the throats and ears and minds of living people. This book examines the songs and their meanings in relation to the lives of those people, and relates them to the cultural tradition and practice of which they were an integral part. The art of village song represents a sense of cohesiveness and mutual identity around local patterns of kinship, social groupings, territorial orientations and cultural relationships. The actual ways in which songs were part of village life is of course highly problematic, but this book endeavours, most of all, to present an understanding of the place of song in the social life of villagers.

Originally published in 1973. Folk-life and folk-culture, usually the preserve of the scholar, have been brought vividly and entertainingly to life in these recollections and stories of one man's life in the Irish countryside. This book tells the life story of John Maguire, who died in 1975, including over 50 of the songs he sang, with full musical transcriptions. He was a fine singer, firmly within the Irish tradition, and his songs are the record of a people, their history and traditions, their joys and sufferings, their comedies and tragedies. John Maguire's fascinating story, skilfully and unobtrusively collated by Robin Morton, is full of material that will interest singers and students of folksongs. His songs and music will be of value to all those interested in traditional music and song.

What do Louis Armstrong, Ray Charles, Bob Dylan, Willie Nelson, Tom Waits, Cassandra Wilson, and Ani DiFranco have in common? In Highway 61 Revisited, acclaimed music critic Gene Santoro says the answer is jazz--not just the musical style, but jazz's distinctive ambiance and attitudes.
As legendary bebop rebel Charlie Parker once put it, "If you don't live it, it won't come out of your horn." Unwinding that Zen-like statement, Santoro traces how jazz's existential art has infused outstanding musicians in nearly every wing of American popular music--blues, folk, gospel, psychedelic rock, country, bluegrass, soul, funk, hiphop--with its parallel process of self-discovery and artistic creation through musical improvisation. Taking less-traveled paths through the last century of American pop, Highway 61 Revisited maps unexpected musical and cultural links between such apparently disparate figures as Louis Armstrong, Willie Nelson, Bob Dylan and Herbie Hancock; Miles Davis, Lenny Bruce, The Grateful Dead, Bruce Springsteen, and many others. Focusing on jazz's power to connect, Santoro shows how the jazz milieu created a fertile space "where whites and blacks could meet in America on something like equal grounds," and indeed where art and entertainment, politics and poetry, mainstream culture and its subversive offshoots were drawn together in a heady mix whose influence has proved both far-reaching and seemingly inexhaustible.
Combining interviews and original research, and marked throughout by Santoro's wide ranging grasp of cultural history, Highway 61 Revisited offers readers a new look at--and a new way of listening to--the many ways jazz has colored the entire range of American popular music in all its dazzling profusion.

Disaster Songs as Intangible Memorials in Atlantic Canada draws on a collection of over 600 songs relating to Atlantic Canadian disasters from 1891 up until the present and describes the characteristics that define them as intangible memorials. The book demonstrates the relationship between vernacular memorials - informal memorials collectively and spontaneously created from a variety of objects by the general public - and disaster songs. The author identifies the features that define vernacular memorials and applies them to disaster songs: spontaneity, ephemerality, importance of place, motivations and meaning-making, content, as well as the role of media in inspiring and disseminating memorials and songs. Visit the companion website: www.disastersongs.ca.

The study of 'Celtic' culture has been locked within modern nationalist paradigms, shaped by contemporary media, tourism, and labor migration. Celtic Modern collects critical essays on the global circulation of Celtic music, and the place of music in the construction of Celtic 'Imaginaries'. It provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany, and amongst Diasporas in Canada, the United States and Australia, with specific reference to pipe bands, traditional music education in Edinburgh, the politics of popular/traditional crossover in Ireland, and the Australian bush band phenomenon. Contributors include performer musicians as well as academic writers. Critique necessitates reflexivity, and all of the contributors, active and in many cases professional musicians as well as writers, reflect in their essays on their own contributions to these kind of encounters. Thus, this resource offers an opportunity to reflect critically on some of the insistent 'othering' that has accompanied much cultural production in and on the Celtic World, and that have prohibited serious critical engagement with what are sometimes described as the 'traditional' and 'folk' music of Europe.