A vivid, highly evocative memoir of one of the reigning icons of folk music, highlighting the decade of the '60s, when hits like "Both Sides Now" catapulted her to international fame.
"Sweet Judy Blue Eyes" is the deeply personal, honest, and revealing memoir of folk legend and relentlessly creative spirit Judy Collins. In it, she talks about her alcoholism, her lasting love affair with Stephen Stills, her friendships with Joan Baez, Richard and Mimi Farina, David Crosby, and Leonard Cohen and, above all, the music that helped define a decade and a generation's sound track.
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Sweet Judy Blue Eyes" invites the reader into the parties that peppered Laurel Canyon and into the recording studio so we see how cuts evolved take after take, while it sets an array of amazing musical talent against the backdrop of one of the most turbulent decades of twentieth-century America.
Beautifully written, richly textured, and sharply insightful, "Sweet Judy Blue Eyes" is an unforgettable chronicle of the folk renaissance in America.

"From the Hardcover edition."

Despite its isolation on the western edge of Europe, Ireland occupies vast amounts of space on the music maps of the world. Although deeply rooted in time and place, Irish songs, dances and instrumental traditions have a history of global travel that span the centuries. Whether carried by exiles, or distributed by commercial networks, Irish traditional music is one of the most popular World Music genres, while Clare, on Ireland's Atlantic seaboard, enjoys unrivaled status as a "Home of the Music," a mecca for tourists and aficionados eager to enjoy the authentic sounds of Ireland. For the first time, this remarkable soundscape is explored by an insider-a fourth generation Clare concertina player, uilleann piper and an internationally recognized authority on Irish traditional music. Entrusted with the testimonies, tune lore, and historic field recordings of Clare performers, Gearoid O hAllmhurain reveals why this ancient place is a site of musical pilgrimage and how it absorbed the impact of global cultural flows for centuries. These flows brought musical change inwards, while simultaneously facilitating outflows of musical change to the world beyond - in more recent times, through the music of Clare stars like Martin Hayes and the Kilfenora Ceili Band. Placing the testimony of music and music makers at the center of Irish cultural history and working from a palette of disciplines, Flowing Tides explores an Irish soundscape undergoing radical change in the period from the Napoleonic Wars to the Great Famine, from the birth of the nation state to the meteoric rise-and fall-of the Celtic Tiger. It is essential reading for all interested in Irish/Celtic music and culture.

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.

Richly ethnographic and a compelling read, After the Dance, the Drums Are Heavy is a study of carnival, politics, and the musical engagement of ordinary citizens and celebrity musicians in contemporary Haiti. The book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation's highest office while methodically crafting a political product inherently entangled with his musical product. It offers deep historical perspective on the characteristics of carnivalesque verbal play-and the performative skillset of the artist (Sweet Micky) who dominated carnival for more than a decade-including vulgarities and polemics. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Joj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public's discussions on what civic participation and citizenship in Haiti can and should be. Drawing on more than a decade and a half of ethnographic research, Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm.

A black cow leads the members of a South Indian hill tribe, the Kotas, to the Nilgiri Hills and, with its hoof, indicates where to found each village. This footprint acts as a moral center of gravity, an important place for music-making, dancing, and other rituals. Places such as this, and moments in time, serve as physical and moral "anchors" for the Kota community. In this book, Richard K. Wolf explores how the Kotas "anchor" their musical and other activities around places and significant moments in time and, in the process, constitute themselves as individuals and as a group. This volume also includes a CD of Richard Wolf's Kota field recordings.

A facsimile edition containing the original collection of 1,850 melodies consisting of airs, jigs, reels, hornpipes, marches, and more for fiddle.

Folk Voiceworks is an outstanding collection of folk songs in the Voiceworks model, including songs from centuries past alongside pieces by celebrated folk musicians. You'll find pieces in a range of genres and styles, including shanties, protest songs, songs about the land, lullabies, love songs, and much more - scored flexibly for unison and part-singing. With excellent practical rehearsal notes, simple accompanying instrumental parts, and a CD with performances of all the songs, this is a fabulous and accessible resource for all choirs.

This edited volume examines manele (sing. manea), an urban Romanian song-dance ethnopop genre that combines local traditional and popular music with Balkan and Middle Eastern elements. The genre is performed primarily by male Romani musicians at weddings and clubs and appeals especially to Romanian and Romani youth. It became immensely popular after the collapse of communism, representing for many the newly liberated social conditions of the post-1989 world. But manele have also engendered much controversy among the educated and professional elite, who view the genre as vulgar and even "alien" to the Romanian national character. The essays collected here examine the "manea phenomenon" as a vibrant form of cultural expression that engages in several levels of social meaning, all informed by historical conditions, politics, aesthetics, tradition, ethnicity, gender, class, and geography.

This book investigates the spectrum of meaning inherent in six orchestral works by Leos Janacek. It codifies his compositional style, first through a thorough examination of its origins in folk music and speech-melody, then in discussions of the features of its melody and motivic techniques. His harmonic style and multiple organizations of tonality are examined in rich detail. The analysis section consists of the examination of each musical work's musical elements, its affective and programmatic associations, as well as four narrative codes through which the listener discovers further meaning in the work: the hermeneutic code (which governs enigmas), the semic code of musical motives, the proairetic (formal) code, and the referential code (which draws on analogous passages from other pieces of music).

Melodious panpipes and kena flutes. The shimmering strums of a charango. Poncho-clad musicians playing "El Condor Pasa" at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many "world music" fans when they recall their early encounters with Andean music groups. Ensembles of this type - -known as "Andean conjuntos" or "pan-Andean bands" - have long formed part of the world music circuit in the Global North. In the major cities of Latin America, too, Andean conjuntos have been present in the local music scene for decades, not only in Peru, Bolivia, and Ecuador (i.e., in the Andean countries), but also in Argentina, Chile, Colombia, and Mexico. It is solely in Bolivia, however, that the Andean conjunto has represented the preeminent folkloric-popular music ensemble configuration for interpreting national musical genres from the late 1960s onward. Despite its frequent association with indigenous villages, the music of Andean conjuntos bears little resemblance to the indigenous musical expressions of the Southern Andes. Created by urban criollo and mestizo folkloric artists, the Andean conjunto tradition represents a form of mass-mediated folkloric music, one that is only loosely based on indigenous musical practices. Panpipes & Ponchos reveals that in the early-to-mid 20th century, a diverse range of musicians and ensembles, including estudiantinas, female vocal duos, bolero trios, art-classical composers, and mestizo panpipe groups, laid the groundwork for the Andean conjunto format to eventually take root in the Bolivian folklore scene amid the boom decade of the 1960s. Author Fernando Rios analyzes local musical trends in conjunction with government initiatives in nation-building and the ideologies of indigenismo and mestizaje. Beyond the local level, Rios also examines key developments in Bolivian national musical practices through their transnational links with trends in Peru, Argentina, Chile, Mexico, and France. As the first book-length study that chronicles how Bolivia's folkloric music movement articulated, on the one hand, with Bolivian state projects, and on the other, with transnational artistic currents, for the pivotal era spanning the 1920s to 1960s, Panpipes & Ponchos offers new perspectives on the Andean conjunto's emergence as Bolivia's favored ensemble line-up in the field of national folkloric-popular music.

This study of Bob Dylan's art employs a performance studies lens, exploring the distinctive ways he brings words and music to life on recordings, onstage, and onscreen. Chapters focus on the relationship of Dylan's recorded performances to the historical bardic role, to the American popular song tradition, and to rock music culture. His uses of both stage and studio to shape his performances are explored, as are his forays into cinema. Special consideration is given to his vocal performances and to his use of particular personae as a performer. The full scope of Dylan's body of work to date is situated in terms of the influences that have shaped his performances and the ways these performances have shaped contemporary popular music.

A breathtaking and unusual collection of traditional Irish tunes that have been arranged for the bagpipe by Dave Rickard. Fifty pieces are included, some are rare and others had never been used before in bagpipe bands, but all are familiar tunes or melodies which will delight and enthrall performers and audiences alike. Pieces featured include: O Sullivan's March * An Mhaighdean Mhara * The Gravel Walk * The Lark in the Morning * and more.

The English folk revival cannot be understood when divorced from the history of post-war England, yet the existing scholarship fails to fully engage with its role in the social and political fabric of the nation. Postwar Politics, Society and the Folk Revival in England is the first study to interweave the story of a gentrifying folk revival with the socio-political tensions inherent in England's postwar transition from austerity to affluence. Julia Mitchell skillfully situates the English folk revival in the context of the rise of the new left, the decline of heavy industry, the rise of local, regional and national identities, the 'Americanisation' of English culture and the development of mass culture. In doing so, she demonstrates that the success of the English folk revival derived from its sense of authenticity and its engagement with topical social and political issues, such as the conflicted legacy of the Welfare State, the fight for nuclear disarmament and the fallout of nationalization. In addition, she shrewdly compares the US and British revival to identify the links but also what was distinctive about the movement in Britain. Drawing on primary sources from folk archives, the BBC, the music press and interviews with participants, this is a theoretically engaged and sophisticated analysis of how postwar culture shaped the folk revival in England.

Israel G. "Izzy" Young was the proprietor of the Folklore Center in Greenwich Village from the late 1950s to the early 1970s. The literal center of the New York folk music scene, the Center not only sold records, books, and guitar strings but served as a concert hall, meeting spot, and information kiosk for all folk scene events. Among Young's first customers was Harry Belafonte; among his regular visitors were Alan Lomax and Pete Seeger. Shortly after his arrival in New York City in 1961, an unknown Bob Dyan banged away at songs on Young's typewriter. Young would also stage Dylan's first concert, as well as shows by Joni Mitchell, the Fugs, Emmylou Harris, and Tim Buckley, Doc Watson, Son House, and Mississippi John Hurt. The Conscience of the Folk Revival: The Writings of Israel "Izzy" Young collects Young's writing, from his regular column "Frets and Frails" for Sing Out! Magazine (1959-1969) to his commentaries on such contentious issues as copyright and commercialism. Also including his personal recollections of seminal figures, from Bob Dylan and Alan Lomax to Harry Smith and Woody Guthrie, this collection removes the rose tinting of past memoirs by offering Young's detailed, day-by-day accounts. A key collection of primary sources on the American countercultural scene in New York City, this work will interest not only folk music fans, but students and scholars of American social and cultural history.

The Nashville we know today is a glitzy big business characterized by entertainment lawyers, social media strategies, and buff, shiny entertainers writing about pick-up trucks, tractors, and dirt roads in air-conditioned, corporate offices. But, back before the coats of glamour and media spotlights, Nashville was a very different place. "The Storyteller's Nashville" is about a fabled town that once was, but no longer exists. The Nashville that Tom T. Hall wrote about -- the "hairy-legged town" where hungry, broke musicians searched for their next meal, pill-popping pickers scammed their next hit, and writers found art in moments of quiet, solitary desperation - is the true foundation upon which today's modern Music City rests. "The Storyteller's Nashville" is also about a man whose songs irrevocably altered the history of that same town as well as the music for which it remains best known. And, while "The Storyteller's Nashville" is no longer an up-to-date picture of Music City, it is a valuable window into the nature of the art and creation during its formative days. In the early 1980s, someone asked Johnny Cash what Nashville was really like. Cash said, "Just read The Storyteller's Nashville by Tom T. Hall. Everything you need to know is in there." Tom T. Hall is a Country Music Hall of Famer for many reasons, including the hit songs he wrote, his three decades as a popular entertainer, and the fact that he and a wild-eyed pack of youngsters that included Kris Kristofferson, Roger Miller, Mickey Newbury and John Hartford elevated the language of country music from simple tales into something akin to literature. The wondrous George Jones called Hall "By far the all-time greatest songwriter/storyteller that country music has ever had." Initially published in 1979, this revised and expanded edition of The Storyteller's Nashville includes Tom T. Hall's thoughts on the years after 1979: he shares his deep friendship with Jimmy Carter; brings us Johnny Cash's thoughts on humility; and reflects on the challenging confluences of celebrity, art and the most dangerous addiction known to musicians: applause. "The Storyteller's Nashville" is illuminating and hilarious, ribald and touching and, above all, entertaining. It's Tom T.'s greatest song and it's now longer. And even better.

From cradle to great, the comprehensive real story of Bill Monroe The Father of Bluegrass Music, Bill Monroe was a major star of the Grand Ole Opry for over fifty years; a member of the Country Music, Songwriters, and Rock and Roll Halls of Fame; and a legendary figure in American music. This authoritative biography sets out to examine his life in careful detail--to move beyond hearsay and sensationalism to explain how and why he accomplished so much. Former Blue Grass Boy and longtime music journalist Tom Ewing draws on hundreds of interviews, his personal relationship with Monroe, and an immense personal archive of materials to separate the truth from longstanding myth. Ewing tells the story of the Monroe family's musical household and Bill's early career in the Monroe Brothers duo. He brings to life Monroe's 1940s heyday with the Classic Bluegrass Band, the renewed fervor for his music sparked by the folk revival of the 1960s, and his declining fortunes in the years that followed. Throughout, Ewing deftly captures Monroe's relationships and the personalities of an ever-shifting roster of band members while shedding light on his business dealings and his pioneering work with Bean Blossom and other music festivals. Filled with a wealth of previously unknown details, Bill Monroe offers even the most devoted fan a deeper understanding of Monroe's towering achievements and timeless music.

Toelken's lively exploration of folksongs and their meanings looks closely at a number of folksong and ballad texts. He discusses riddle songs and other ambiguous folksongs, as well as the various "ballad commonplaces", treating them not as a fund of mindless cliches but as a reservoir of suggestive reference. The author ranges through metaphors such as weaving, plowing, plucking flowers, and walking in the dew, showing in each case how it contributes to meaning in vernacular song. Included are comparisons to German folksongs, medieval poetry, Italian folk lyrics, and a wide range of Euro-American vernacular expression. If morning dew and roses are metaphorical signifiers, he prompts us to ask, what might they say to the folk communities that sustain and share them? Toelken draws on both his published work and his extensive unpublished research on English-language and German-Austrian folksong. The German references he offers show that the nuances are not coincidental or unique to English ballad development but reflect a widespread northern European pattern of metaphoric expression.

This text explores Scotland's musical heritage and influences, past and present. Fiddles and Folk provides a journey in the company of the performers who have taken Scotland's music around the world and come back singing.

For both playing and singing, this glorious volume contains a massive selection of melodies, carols, hymns and songs that celebrate and reinforce the joy of Christmas. Ideal for Christmas, this collection of songs will enhance any seasonal concert program. Features 75 pieces in all, including: Silent Night * The Holly and the Ivy * In Dulci Jubilo * Jingle Bells * O Holy Night * The First Noel * We Wish You a Merry Christmas * and many more

Transforming Tradition offers the first serious look at folksong revivals, vibrant meldings of popular and folk culture that captured public awareness in the 1950s and 1960s. Best remembered for such songs as "Tom Dooley" and for performers like the Kingston Trio and Joan Baez, the revival of that era gave rise to hootenannies, coffeehouses, and blues and bluegrass festivals, sowing a legacy of popular interest that lives today. Many of the contributors to this volume were themselves performers in folksong revivals; today they are scholars in folklore, ethnomusicology, and American and Canadian cultural history. As both insiders and analysts they bring unique perspectives and new insights to the study of revivals. In his introduction, Neil Rosenberg explores central issues such as the history of folksong revivals, stereotypes of "folksingers", connections between scholarship and popularization, meanings of the word "revival", questions of authenticity and the invention of culture, and issues surrounding reflexive scholarship. The individual studies are divided into three sections. The first covers the "Great Boom" revival of the late '50s and early '60s, and the next approaches the revival as a self-contained social culture with its own "new aesthetic" and in-group values. The last looks at revival activities in systems of musical culture including the blues, old-time fiddling, Northumbrian piping, and bluegrass, with particular emphasis on perceptions of insider and outsider roles. The contributors display keen awareness of how their own perceptions have been shaped by their early, more subjective involvement. For example, Archie Green explores his service as faculty guru to the CampusFolksong Club at the University of Illinois at Urbana-Champaign during the 1960s. Kenneth S. Goldstein considers how intellectual issues of the "great boom" shaped his work for recording companies. Sheldon Posen uses autobiography as ethnography to explain what happened to him when he moved from revival to academe. And Toru Mitsui explains how and why American country old-time, and bluegrass music became popular in Japan.

This book contains not only more than 400 sea shanties but as much of their history as Stan Hugill could collect in his extraordinary career as sailor, scholar, author, artist, and inspiration to new generations of sea-music enthusiasts and performers.