Klezmer is a continually evolving musical tradition that grows out of Eastern European Jewish culture, and its changes reflect Jews' interaction with other groups as well as their shifting relations to their own history. But what happens when, in the klezmer spirit, the performances that go into the making of Jewishness come into contact with those that build different forms of cultural identity? Jonathan Freedman argues that key terms central to the Jewish experience in America, notions like "the immigrant," the "ethnic," and even the "model minority," have worked and continue to intertwine the Jewish-American with the experiences, histories, and imaginative productions of other groups: Latinos, Asians, African Americans, and gays and lesbians, among others.

Freedman traces the twists and turns taken by these various relationships in a number of imaginative arenas: the white-black crossover between jazz and klezmer and its unexpected consequences in Philip Roth's "The Human Stain"; the relationship between Jewishness and queer identity in Tony Kushner's "Angels in America"; contemporary fictions about crypto-Jews in Cuba and the Mexican-American borderland; the connection between Jews and Christian apocalyptic narratives, especially the best-selling "Left Behind" series; the centuries-old cross-referencing of Jewish and Asian American identities; the stories of "new immigrants" spun by contemporary writers like Bharathi Mukherjee, Gish Jen, Lan Samantha Chang, and Gary Shteyngart; and the revisionary relation of these authors to classic Jewish American immigrant narratives by the likes of Henry Roth, Bernard Malamud, and Saul Bellow. By interrogating the fraught andmultidimensional uses to which Jews, Judaism, and Jewishness have been put in shaping the nature and properties of other categories of identity and experience, Freedman offers a richer understanding of racial, ethnic, and sexual categories in America and of the ethnoracial complexities facing the United States in the twenty-first century.

A No Depression Most Memorable Music Book of 2022 Roland White's long career has taken him from membership in Bill Monroe's Blue Grass Boys and Lester Flatt's Nashville Grass to success with his own Roland White Band. A master of the mandolin and acclaimed multi-instrumentalist, White has mentored a host of bluegrass musicians and inspired countless others. Bob Black draws on extensive interviews with White and his peers and friends to provide the first in-depth biography of the pioneering bluegrass figure. Born into a musical family, White found early success with the Kentucky Colonels during the 1960s folk revival. The many stops and collaborations that marked White's subsequent musical journey trace the history of modern bluegrass. But Black also delves into the seldom-told tale of White's life as a working musician, one who endured professional and music industry ups-and-downs to become a legendary artist and beloved teacher. An entertaining merger of memories and music history, Mandolin Man tells the overdue story of a bluegrass icon and his times.

American folk musicians Ry Cooder and Taj Mahal, once musical partners, have had careers which are at once conservative and innovative, imbuing the best of folk traditions with their own powerful style. In The Unbroken Circle, Fred Metting challenges the musical labels that often bind artists as he explores the inspirational sources behind these two men. Cooder was influenced by ragtime-blues, bottleneck gospel blues, Norteno music, as well as epic folk ballads. Mahal surrounded himself with Afro-Caribbean music, Chicago blues and Hawaiian music. Both of these artists created a collage from these sources, resisting categories and always driving for the emotional center of the musical experience. Metting traces the parallels between the two, in their careers and their musical backgrounds. He demonstrates how American music transcends classification, finding definition in its very fluidity. The result of a study such as this is not only a respect for the earlier musical sources, but also a desire to continue the tradition of adaptation and change. The Unbroken Circle is a book well-suited for music students, American folklorists, and fans of the musicians profiled.

In 2015 University Press of Mississippi published Mississippi Fiddle Tunes and Songs from the 1930s by Harry Bolick and Stephen T. Austin to critical acclaim and commercial success. Roughly half of Mississippi's rich, old-time fiddle tradition was documented in that volume and Harry Bolick has spent the intervening years working on this book, its sequel. Beginning with Tony Russell's original mid-1970s fieldwork as a reference, and later working with Russell, Bolick located and transcribed all of the Mississippi 78 rpm string band recordings. Some of the recording artists like the Leake County Revelers, Hoyt Ming and His Pep Steppers, and Narmour & Smith had been well known in the state. Others, like the Collier Trio, were obscure. This collecting work was followed by many field trips to Mississippi searching for and locating the children and grandchildren of the musicians. Previously unheard recordings and stories, unseen photographs and discoveries of nearly unknown local fiddlers, such as Jabe Dillon, John Gatwood, Claude Kennedy, and Homer Grice, followed. The results are now available in this second, companion volume, Fiddle Tunes from Mississippi: Commercial and Informal Recordings, 1920-2018. Two hundred and seventy musical examples supplement the biographies and photographs of the thirty-five artists documented here. Music comes from commercial recordings and small pressings of 78 rpm, 45 rpm, and LP records; collectors' field recordings; and the musicians' own home tape and disc recordings. Taken together, these two volumes represent a delightfully comprehensive survey of Mississippi's fiddle tunes.

Tigers of a Different Stripe takes readers inside the unique world of merengue tipico, a traditional music of the Dominican Republic. While in most genres of Caribbean music women usually participate as dancers or vocalists, in merengue tipico they are more often instrumentalists and even bandleaders something nearly unheard of in the macho Caribbean music scene. Examining this cultural phenomenon, Sydney Hutchinson offers an unexpected and fascinating account of gender in Dominican art and life. Drawing on over a decade of fieldwork in the Dominican Republic and New York among musicians, fans, and patrons of merengue tipico not to mention her own experiences as a female instrumentalist Hutchinson details a complex nexus of class, race, and artistic tradition that unsettles the typical binary between the masculine and feminine. She sketches the portrait of the classic male figure of the tiguere, a dandified but sexually aggressive and street-smart "tiger," and she shows how female musicians have developed a feminine counterpart: the tiguera, an assertive, sensual, and respected female figure who looks like a woman but often plays and even sings like a man. Through these musical figures and studies of both straight and queer performers, she unveils rich ambiguities in gender construction in the Dominican Republic and the long history of a unique form of Caribbean feminism.

THE TOP FIVE SUNDAY TIMES BESTSELLER A BOOK OF THE YEAR ROUGH TRADE, THE TIMES, ROLLING STONE, CLASH, MOJO, UNCUT The memoir of international music icon Richard Thompson, co-founder of the legendary folk rock group Fairport Convention. 'I encourage everyone to read this wonderful book.' ELVIS COSTELLO 'Thompson could be said to be an English Dylan - only in some ways he's even better than that.' GUARDIAN Richard Thompson came of age during an extraordinary moment in 1960s Britain - as music began to reflect a great cultural awakening, the guitarist and songwriter co-founded Fairport Convention, ushering in the era of folk rock. An intimate memoir of personal discovery and creative intensity, Beeswing vividly captures the life of an international music icon in a world on the cusp of change 'Gripping . . . A quiet joy of a memoir.' GUARDIAN 'Thompson writes exceptionally well . . . If you love music in all its myriad forms, you'll love this book.' NEW YORK JOURNAL OF BOOKS 'An intimate, revealing tome, Beeswing is the voice of a figure at the heart of the British counter-culture.' CLASH 'Perceptive, lyrical, amiable and seemingly effortless . . . required reading.' CAUGHT BY THE RIVER

A new edition of a work equally useful to the student of music and the lover of music.

Attended by tens of thousands of people each August, it's the longest continually running folk festival in America. These pages capture 55 years of its beloved, creatively charged atmosphere. Over 800 photos from 1962 to today feature the more than 825 performers and bands who have taken the stage, including Jackson Browne, Roseanne Cash, Judy Collins, Ani DiFranco, Steve Earle, Arlo Guthrie, Janis Ian, Odetta, the Tuva Throat Singers, and Doc Watson. Enjoy stories of how the festival began, and the unusual and unique experiences that seem to transpire only at Festival. Revisit traditions like the creatively-constructed campground compounds, the Dulcimer Grove hammocks and kids' activities, and the origins of the "Smiling Banjo" logo. Whether you are a regular or haven't visited yet, learn why so many say of the Fest, "This is my home."

World-class luthier and renowned guitarist Wayne Henderson calls Albert Hash "a real folk hero." A virtuoso fiddler from the Blue Ridge, Hash built more than 300 fiddles in his lifetime, recorded numerous times with a variety of bands and inspired countless instrument makers and musicians in the mountains of rural Southwest Virginia near the North Carolina border. His biography is the story of a resourceful, humble man who dedicated his life to his art, community and Appalachian musical heritage.

'Shirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived' Stewart Lee 'Without doubt one of England's greatest cultural treasures' Billy Bragg In America Over the Water, celebrated English folksinger Shirley Collins offers an affecting account of her year-long stint as assistant to legendary musical historian and folklorist Alan Lomax. Together, they travelled to Virginia, Kentucky, Alabama, Mississippi, Arkansas and Georgia, discovering Mississippi Fred McDowell and many others, in their tireless work to uncover the traditional music of America's heartland. Blending the personal story of Shirley Collins' relationship with Lomax and offering a unique first-hand account of a country on the brink of the civil rights era, America Over the Water cuts right to the heart of the blues in a fascinating account of Collins' and Lomax's ground-breaking journey across the southern states of the USA to record the music that started it all. Originally published over fifteen years ago, this definitive edition includes a new introduction by Shirley Collins.

A memoir from one of Britain's legendary singers, folklorists, and music historians. A legendary singer, folklorist, and music historian, Shirley Collins has been an integral part of the folk-music revival for more than sixty years. In her new memoir, All in the Downs, Collins tells the story of that lifelong relationship with English folksong-a dedication to artistic integrity that has guided her through the triumphs and tragedies of her life. All in the Downs combines elements of memoir-from her working-class origins in wartime Hastings to the bright lights of the 1950s folk revival in London-alongside reflections on the role traditional music and the English landscape have played in shaping her vision. From formative field recordings made with Alan Lomax in the United States to the "crowning glories" recorded with her sister Dolly on the Sussex Downs, she writes of the obstacles that led to her withdrawal from the spotlight and the redemption of a new artistic flourishing that continues today with her unexpected return to recording in 2016. Through it all, Shirley Collins has been guided and supported by three vital and inseparable loves: traditional English song, the people and landscape of her native Sussex, and an unwavering sense of artistic integrity. All in the Downs pays tribute to these passions, and in doing so, illustrates a way of life as old as England, that has all but vanished from this land. Generously illustrated with rare archival material.

Cape Town’s public cultures can only be fully appreciated through a recognition of its deep and diverse soundscape. We have to listen to what has made and makes a city. The ear is an integral part of the ‘research tools’ one needs to get a sense of any city. We have to listen to the sounds that made and make the expansive ‘mother city’. One of its various constituent parts is the sound of the singing men and their choirs (or “teams” as they are called) in preparation for the longstanding annual Malay choral competitions. The lyrics from the various repertoires they perform are hardly ever written down. […] There are texts of the hallowed ‘Dutch songs’ but these do not circulate easily and widely. Researchers dream of finding lyrics from decades ago, not to mention a few generations ago – back to the early 19th century. This work by Denis Constant Martin and Armelle Gaulier provides us with a very useful selection of these songs. More than that, it is a critical sociological reflection of the place of these songs and their performers in the context that have given rise to them and sustains their relevance. It is a necessary work and is a very important scholarly intervention about a rather neglected aspect of the history and present production of music in the city, collaborations increasingly fair, sustainable and mutually beneficial.

A musical genre forever outside the lines With a claim on artists from Jimmie Rodgers to Jason Isbell, Americana can be hard to define, but you know it when you hear it. John Milward's Americanaland is filled with the enduring performers and vivid stories that are at the heart of Americana. At base a hybrid of rock and country, Americana is also infused with folk, blues, R&B, bluegrass, and other types of roots music. Performers like Bob Dylan, Johnny Cash, Ray Charles, and Gram Parsons used these ingredients to create influential music that took well-established genres down exciting new roads. The name Americana was coined in the 1990s to describe similarly inclined artists like Emmylou Harris, Steve Earle, and Wilco. Today, Brandi Carlile and I'm With Her are among the musicians carrying the genre into the twenty-first century. Essential and engaging, Americanaland chronicles the evolution and resonance of this ever-changing amalgam of American music. Margie Greve's hand-embroidered color portraits offer a portfolio of the pioneers and contemporary practitioners of Americana.

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.

Cumbia is a musical form that originated in northern Colombia and then spread throughout Latin America and wherever Latin Americans travel and settle. It has become one of the most popular musical genre in the Americas. Its popularity is largely due to its stylistic flexibility. Cumbia absorbs and mixes with the local musical styles it encounters. Known for its appeal to workers, the music takes on different styles and meanings from place to place, and even, as the contributors to this collection show, from person to person. Cumbia is a different music among the working classes of northern Mexico, Latin American immigrants in New York City, Andean migrants to Lima, and upper-class Colombians, who now see the music that they once disdained as a source of national prestige. The contributors to this collection look at particular manifestations of cumbia through their disciplinary lenses of musicology, sociology, history, anthropology, linguistics, and literary criticism. Taken together, their essays highlight how intersecting forms of identity-such as nation, region, class, race, ethnicity, and gender-are negotiated through interaction with the music. Contributors. Cristian Alarcon, Jorge Arevalo Mateus, Leonardo D'Amico, Hector Fernandez L'Hoeste, Alejandro L. Madrid, Kathryn Metz, Jose Juan Olvera Gudino, Cathy Ragland, Pablo Seman, Joshua Tucker, Matthew J. Van Hoose, Pablo Vila

*THE SUNDAY TIMES BESTSELLER* The brand new memoir from the Sunday Times bestselling author of The Road Beneath My Feet. Taking 36 songs from his back catalogue, folk-punk icon Frank Turner explores his songwriting process. Find out the stories behind the songs forged in the hedonistic years of the mid-2000s North London scene, the ones perfected in Nashville studios, and everything in between. Some of these songs arrive fully-formed, as if they've always been there, some take graft and endless reworking to find 'the one'. In exploring them all, Turner reflects with eloquence, insight and self-deprecating wit on exactly what it is to be a songwriter. From love songs and break-up songs to political calls-to-arms; songs composed alone in a hotel room or in soundcheck with the Sleeping Souls, this brilliantly written memoir - featuring exclusive photos of handwritten lyrics and more - is a must-have book for FT fans and anyone curious about how to write music.

Francis James Child's English and Scottish Popular Ballads, published in ten parts from 1882 to 1898, contained the texts and variants of 305 extant themes written down between the thirteenth and nineteenth centuries. Unsurpassed in its presentation of texts, this exhaustive collection devoted little attention to the ballad music, a want that was filled by Bertrand Harris Bronson in his four volume Traditional Tunes of the Child Ballads. The present book is an abridged, one-volume edition of that work, setting forth music and text for proven examples of oral tradition, with a new comprehensive introduction. Its convenient format makes readily available to students and scholars the materials for a study of the Child ballads as they have been preserved in the British-American singing tradition. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This book is a substantial and thorough musicological analysis of Turkish folk music. It reproduces in facsimile Bartok's autograph record of eighty seven vocal and instrumental peasant melodies of the Yuruk Tribes, a nomadic people in southern Anatolia. Bartok's introduction includes his annotations of the melodies, texts, and translations and establishes a connection between Old Hungarian and Old Turkish folk music. Begun in 1936 and completed in 1943, the work was Bartok's last major essay. The editor, Dr. Benjamin Suchoff, has provided an historical introduction and a chronology of the various manuscript versions. An afterword by Kurt Reinhard describes recent research in Turkish ethnomusicology and gives a contemporary assessment of Bartok's field work in Turkey. Appendices prepared by the editor include an index of themes compiled by computer. Originally published in 1976. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.