Undoubtedly the most popular book in American labor history, the I.W.W.'s 'Little Red Song Book' has been a staple item on picket lines and at other workers' gatherings for generations, and has gone through numerous editions. As a result of I.W.W. efforts to keep up with the times, however, recent versions of the songbook have omitted most of the old-time favorites. The steadily mounting interest in Wobbly history warrants this facsimile edition from the union's Golden Age. 90 years ago these songs were sung with gusto in Wobbly halls, and they're still fun to sing today

"It remains one of the most penetrating and illuminating books on the island's elusive, alluring culture." -- National Geographic A House in Bali tells the fascinating story of renowned writer and composer Colin McPhee's obsession with Balinese gamelan music, and of his journey to Bali to experience it first-hand. In 1929, the young Canadian-born musician chanced upon rare gramophone recordings which were to change his life forever. From that moment, he lived for the day when he could set foot on the island where this music originated. He realized his dream and spent almost a decade there in the 1930s. Music and dance are second nature to the Balinese, and McPhee's writings and compositions proved seminal in popularizing gamelan music in the West. In this lovingly-told memoir, McPhee unfolds a beguiling picture of a society like no other in the world--staggeringly poor in material terms, but rich beyond belief in spiritual values and joy. The young composer writes about his growing understanding of this astonishing culture where art is a preoccupation--and of all the arts, music reigns supreme. This is a book about passion, obsession and discovery, and of the journey of a supremely talented modern composer and writer. Much has been written about Bali, but this classic stands alone!

This collection of essays explores a wide range of topics current in the field of music theory, including analytical methodologies for pretonal, tonal, and post-tonal music, assessment of notation as a vehicle for interpreting compositional strategies in different repertoires, and employment of approaches informed by cognitive, aesthetic, and ethnomusicological studies of music. Authors reflect critically on challenges within their specific areas of expertise and probe directions in which advances can be made and difficulties overcome. The results of these investigations will benefit readers, from early career researchers to experienced scholars, whose interests not only intersect with the topics presented here but which also encompass broad methodological issues affecting music theory.

Laurence Picken has long been recognised as a pioneer in the study of Oriental and other non-Western musics. Some of his pupils, colleagues and friends from four continents have here brought together this volume of essays as a tribute to him on his seventieth birthday. The book aims to reflect characteristic aspects of Dr Picken's work: his conception of musicology as a science, his sense of historical perspective and - perhaps most importantly - his delight in music of almost every kind. Appealing in particular to those engaged in the study of non-Western music, the volume will also interest everyone concerned with musical structures and their development.

Saibara ('Drover's Songs') is the title of a genre of measured Japanese court song, traditionally believed to have been derived from the songs of pack-horse drivers bringing tribute from the provinces to the Heian capital and known to have formed part of the official court repertory at least since AD 859. From literature of the Heian period (782 1184) it is evident that these songs enjoyed great popularity at court as entertainment music practised by noble amateurs. Six songs are still performed today, albeit vastly modified. As well as being of value to musicologists, these volumes will interest readers concerned with early Japanese literature and paleography.

Saibara ('Drover's Songs') is the title of a genre of measured Japanese court song, traditionally believed to have been derived from the songs of pack-horse drivers bringing tribute from the provinces to the Heian capital and known to have formed part of the official court repertory at least since AD 859. From literature of the Heian period (782 1184) it is evident that these songs enjoyed great popularity at court as entertainment music practised by noble amateurs. Six songs are still performed today, albeit vastly modified. As well as being of value to musicologists, these volumes will interest readers concerned with early Japanese literature and paleography.

This book is a wide-ranging study of the varieties of gamelan music in contemporary Java seen from a regional perspective. While the focus of most studies of Javanese music has been limited to the court-derived music of Surakarta and Yogyakarta, Sutton goes beyond them to consider also gamelan music of Banyumas, Semarang and east Java as separate regional traditions with distinctive repertoires, styles and techniques of performance and conceptions about music. Sutton's description of these traditions, illustrated with numerous musical examples in Javanese cipher notation, is based on extensive field experience in these areas and is informed by the criteria that Javanese musicians judge to be most important in distinguishing them.

The Little Book of Country Music Wisdom offers the wise, unvarnished words of country stars past and present on a variety of topics like love, family, fun, work, health, heartache and even death to offer the full, big-picture view of country wisdom. Country music wisdom can be uplifting, funny, or hopeful, and sometimes it's deadly serious, but above all it's honest. This collection includes Dolly Parton, Reba McEntire, Johnny Cash, Willie Nelson, Carrie Underwood, Eric Church, Luke Bryan, and more.

Framed by a century and a half of racialized Chinese American musical experiences, Claiming Diaspora explores the thriving contemporary musical culture of Asian/Chinese America. Ranging from traditional operas to modern instrumental music, from ethnic media networks to popular music, from Asian American jazz to the work of recent avant-garde composers, author Su Zheng reveals the rich and diverse musical activities among Chinese Americans and tells of the struggles of Chinese Americans to gain a foothold in the American cultural terrain. She not only tells their stories, but also examines the dynamics of the diasporic connections of this musical culture, revealing how Chinese American musical activities both reflect and contribute to local, national, and transnational cultural politics, and challenging us to take a fresh look at the increasingly plural and complex nature of American cultural identity.

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.
"
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."

The classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

Intimate, anecdotal, and spell-binding, Singing Out offers a fascinating oral history of the North American folk music revivals and folk music. Culled from more than 150 interviews recorded from 1976 to 2006, this captivating story spans seven decades and cuts across a wide swath of generations and perspectives, shedding light on the musical, political, and social aspects of this movement. The narrators highlight many of the major folk revival figures, including Pete Seeger, Bernice Reagon, Phil Ochs, Mary Travers, Don McLean, Judy Collins, Arlo Guthrie, Ry Cooder, and Holly Near. Together they tell the stories of such musical groups as the Composers' Collective, the Almanac Singers, People's Songs, the Weavers, the New Lost City Ramblers, and the Freedom Singers. Folklorists, musicians, musicologists, writers, activists, and aficionados reveal not only what happened during the folk revivals, but what it meant to those personally and passionately involved. For everyone who ever picked up a guitar, fiddle, or banjo, this will be a book to give and cherish. Extensive notes, bibliography, and discography, plus a photo section.

This study of Polish folk music is especially enlightening as it reveals both the history and practice of a musical tradition and offers an illuminating view of a culture and its social activities. Within her study, Anna Czekanowska analyses the vocal and instrumental traditions of Polish folk music, tracing the background history, the influences of geography and politics, and the practice, often within contemporary society, of such social events as the harvest, the solstice and weddings. The function of folk culture within contemporary life, for both Polish and non-Polish inhabitants of the country, is also examined. Professor Czekanowska also discusses the birth of Polish ethno- musicology as a discipline and details some methodological aspects for research. This study contributes to a greater understanding and appreciation of Polish music and, in a wider aspect, of Slavonic culture. The book contains numerous illustrations of instruments and cultural events, music examples, maps, a discography and bibliography.

The islands of Chiloe, in southern Chile, have developed a distinct culture over several centuries, blending indigenous traditions and Spanish settler heritage to create a vibrant pattern of folklore, music, dance, and related creative practices. This cultural heritage has become an important aspect of the islands' identity and is key to their successful marketing as a tourist destination. However, these elements exist in tension with new developments, most particularly the introduction of salmon aquaculture, which has disrupted traditional livelihood patterns and polluted the region's marine environment. This volume analyzes the development of the islands' distinct culture with a particular focus on music and dance. Key topics include the relation of tradition and modernity, the impact of tourism on cultural practice, and the relationship between social activism and music culture. The authors complement this focus with a discussion of their own creative engagements with the region through the production of the music album Viaje a Chiloe (2018) and through the work of the audiovisual ensemble The Moviolas (in 2015-2018).

"We Shall Overcome" is an American folk song that has influenced American and world history like few others. At different points in time it has served as a labor movement song, a civil rights song, a hymn, and a protest song and has long held strong individual and collective meaning for the African-American community, in particular, and the American and world communities more generally. We Shall Overcome: Essays on a Great American Song, edited and compiled by Victor V. Bobetsky, comprises essays that explore the origins, history, and impact of this great American folk song. Inspired by a symposium of guest speakers and student choirs from the New York City Public Schools, chapters cover such critical matters as the song's ancestry, Pete Seeger's contribution to its popularization, the role played by the SNCC Freedom Singers in its adoption, the gospel origins and influences of the song, its adaptation by choral arrangers, its use as a teaching tool in the classroom, and its legacy among other freedom songs. We Shall Overcome: Essays on a Great American Song constitutes an invaluable resource for the music and music education community as well as for members of the general public interested in music, education, history and the civil rights movement. The book provides readers with a wide and unique spectrum of information about the song relevant to researchers and teachers.

When we talk about roots music, what do we mean and what is at stake? Ethnomusicologist Mark F. DeWitt delves into these questions in an introductory bibliographic essay and selects twenty-one articles published between 1974 and 2010 that have advanced our knowledge and insight about this topic. The collection focuses on the nexus between popular musics in North America and Europe and the traditional musics that have been their foundation, on both the real and imagined connections between the present and past: Olly Wilson and Gerhard Kubik on African American music, Aaron Fox on country music, Eric Lott on blackface minstrelsy, Barry Shank on the elusive Bob Dylan. Works by Sara Cohen, Beverley Diamond, Peter Manuel, Svanibor Pettan and others range on subjects from the accordion, balladry and blues to Bulgarian folk orchestras, flamenco, gospel, Irish sessions, Native American women musicians, the Roma, Tex-Mex music and zydeco.

A freewheeling blend of continental European folk music and the songs, tunes, and dances of Anglo and Celtic immigrants, polkabilly has enthralled American musicians and dancers since the mid-19th century. From West Virginia coal camps and east Texas farms to the Canadian prairies and America's Upper Midwest, scores of groups have wed squeezeboxes with string bands, hoe downs with hambos, and sentimental Southern balladry with comic "up north" broken-English comedy, to create a new and uniquely American sound.
The Goose Island Ramblers played as a house band for a local tavern in Madison, Wisconsin from the early 1960s through the mid-1970s. The group epitomized the polkabilly sound with their wild mixture of Norwegian fiddle tunes, Irish jigs, Slovenian polkas, Swiss yodels, old time hillbilly songs, "Scandihoovian" and "Dutchman" dialect ditties, frost-bitten Hawaiian marches, and novelty numbers on the electric toilet plunger. In this original study, James P. Leary illustrates how the Ramblers' multiethnic music combined both local and popular traditions, and how their eclectic repertoire challenges prevailing definitions of American folk music. He thus offers the first comprehensive examination of the Upper Midwest's folk musical traditions within the larger context of American life and culture.
Impeccably researched, richly detailed and illustrated, and accompanied by a compact disc of interviews and performances, James P. Leary's Polkabilly: How the Goose Island Ramblers Redefined American Folk Music creates an unforgettable portrait of a polkabilly band and its world.

In smoky rooms above pubs, bare rooms with battered stools and beer-stained tables, where the stage was little more than a scrap of carpet and sound systems were unheard of, an acoustic revolution took place in Britain in the 1950s and '60s. This was the folk revival, where a generation of musicians, among much drink and raucous cheer, would rediscover the native songs of their own tradition, as well as the folk and blues coming from across the Atlantic by artists such as Leadbelly, Woody Guthrie and Big Bill Broonzy. Singing from the Floor is the story of this remarkable movement, faithfully captured in the voices of those who formed it by JP Bean. We hear from luminaries such as Shirley Collins, Martin Carthy, Peggy Seeger and Ralph McTell, alongside figures such as Billy Connolly, Jasper Carrott and Mike Harding, who all started their careers on the folk circuit. The book charts the revival's improvised beginnings and its ties to the CND movement, through the heyday of the '60s and '70s, when every university, town and many villages across the country boasted a folk club, to the fallow years of the '80s and '90s. The book finishes on a high note, with the recent resurgence of interest in folk, through such artists as the Lakemans, Sam Lee and Eliza Carthy. It is a joyous, boisterous and hugely entertaining book, and an essential document of our recent history stretching into the past.

Christy Moore is in every sense Ireland's folk hero. Mentor to a whole generation of Irish musicians, he holds a unique place in musical history. In l992 he broke all attendance records during 12 packed nights at the Point in Dublin. In the UK he fills concert halls around the country. In l997 he announced that he was taking an extended break from touring and recording. It was headline news in Ireland. So was his comeback which began in l999. Set to be an enormous best-seller, his autobiography marries both songs and memories. Around 250 of his favourite lyrics are accompanied by his memories around the song itself and his life. Each entry is fresh, direct, honest and spontaneous - like the most intimate diary. Through it he charts his life from drunk to sober, bar-room guitar player to international singer-songwriter.

When the Portuguese seafarer Afonso de Albuquerque conquered the bustling port of Malacca in 1511, he effectively gained control of the entire South China Sea spice trade. Although their dominance lasted only 130 years, the Portuguese legacy lies at the heart of a burgeoning tourist attraction on the outskirts of the city, in which performers who believe they are the descendants of swashbuckling Portuguese conquerors encapsulate their "history" in a cultural stage show.
Using historical and ethnographic data, Margaret Sarkissian reveals that this music and dance draws on an eclectic array of influences that span the Portuguese diaspora (one song conjures up images of Lucille Ball impersonating Carmen Miranda on "I Love Lucy"). Ironically, she shows, what began as a literate tradition in the 1950s has now become an oral one so deeply rooted in Settlement life that the younger generation, like the tourists, now see it as an unbroken heritage stretching back almost 500 years. A fascinating case of "orientalism in reverse," "D'Albuquerque's Children" illuminates the creative ways in which one community has adapted to life in a postcolonial world.

The classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

(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.

Joni Mitchell is one of the foremost singer-songwriters of the late twentieth century. Yet despite her reputation, influence, and cultural importance, a detailed appraisal of her musical achievement is still lacking. Whitesell presents a through exploration of Mitchell's musical style, sound, and structure in order to evaluate her songs from a musicological perspective. His analyses are conceived within a holistic framework that takes account of poetic nuance, cultural reference, and stylistic evolution over a long, adventurous career.
Mitchell's songs represent a complex, meticulously crafted body of work. The Music of Joni Mitchell offers a comprehensive survey of her output, with many discussions of individual songs, organized by topic rather than chronology. Individual chapters each explore a different aspect of her craft, such as poetic voice, harmony, melody, and large-scale form. A separate chapter is devoted to the central theme of personal freedom, as expressed through diverse symbolic registers of the journey quest, bohemianism, creative license, and spiritual liberation.
Previous accounts of Mitchell's songwriting have tended to favor her poetic vision, expansive verse structures, and riveting vocal delivery. Whitesell fills out this account with special attention to musical technique, showing how such traits as complex or conflicting sonorities, dualities of harmonic mode, dialectical tensions of texture and register, intricately layered instrumental figuration, and a variable vocal persona are all essential to her distinctive identity as a songwriter. The Music of Joni Mitchell develops a set of conceptual tools geared specifically to Mitchell's songs, in order todemonstrate the extent of her technical innovation in the pop song genre, to give an account of the formal sophistication and rhetorical power characterizing her work as a whole, and to provide grounds for the recognition of her intellectual stature as a composer within her chosen field.