The ballad "John Henry" is the most recorded folk song in American history and John Henry-the mighty railroad man who could blast through rock faster than a steam drill-is a towering figure in our culture. But for over a century, no one knew who the original John Henry was-or even if there was a real John Henry. In Steel Drivin' Man, Scott Reynolds Nelson recounts the true story of the man behind the iconic American hero, telling the poignant tale of a young Virginia convict who died working on one of the most dangerous enterprises of the time, the first rail route through the Appalachian Mountains. Using census data, penitentiary reports, and railroad company reports, Nelson reveals how John Henry, victimized by Virginia's notorious Black Codes, was shipped to the infamous Richmond Penitentiary to become prisoner number 497, and was forced to labor on the mile-long Lewis Tunnel for the C&O railroad. Nelson even confirms the legendary contest between John Henry and the steam drill (there was indeed a steam drill used to dig the Lewis Tunnel and the convicts in fact drilled faster). Equally important, Nelson masterfully captures the life of the ballad of John Henry, tracing the song's evolution from the first printed score by blues legend W. C. Handy, to Carl Sandburg's use of the ballad to become the first "folk singer," to the upbeat version by Tennessee Ernie Ford. We see how the American Communist Party appropriated the image of John Henry as the idealized American worker, and even how John Henry became the precursor of such comic book super heroes as Superman or Captain America. Attractively illustrated with numerous images, Steel Drivin' Man offers a marvelous portrait of a beloved folk song-and a true American legend.

The Life and Songs of Stephen Foster offers an engaging reassessment of the life, politics, and legacy of the misunderstood father of American music. Once revered the world over, Foster's plantation songs, like "Old Folks at Home" and "My Old Kentucky Home," fell from grace in the wake of the Civil Rights Movement due to their controversial lyrics. Foster embraced the minstrel tradition for a brief time, refining it and infusing his songs with sympathy for slaves, before abandoning the genre for respectable parlor music. The youngest child in a large family, he grew up in the shadows of a successful older brother and his president brother-in-law, James Buchanan, and walked a fine line between the family's conservative politics and his own pro-Lincoln sentiments. Foster lived most of his life just outside of industrial, smoke-filled Pittsburgh and wrote songs set in a pastoral South-unsullied by the grime of industry but tarnished by the injustice of slavery. Rather than defining Foster by his now-controversial minstrel songs, JoAnne O'Connell reveals a prolific composer who concealed his true feelings in his lyrics and wrote in diverse styles to satisfy the changing tastes of his generation. In a trenchant reevaluation of his NewYork Bowery years, O'Connell illustrates how Foster purposely abandoned the style for which he was famous to write lighthearted songs for newly popular variety stages and music halls. In the last years of his life, Foster's new direction in songwriting stood in the vanguard of vaudeville and musical comedy to pave the way for the future of American popular music. His stylistic flexibility in the face of evolving audience preferences not only proves his versatility as a composer but also reveals important changes in the American music and publishing industries. An intimate biography of a complex, controversial, and now neglected composer, The Life and Songs of Stephen Foster is an important story about the father of American music. This invaluable portrait of the political, economic, social, racial, and gender issues of antebellum and Civil War America will appeal to history and music lovers of all generations.

Sound Relations delves into histories of Inuit musical life in Alaska to register the significance of sound as integral to self-determination and sovereignty. Offering radical and relational ways of listening to Inuit performances across a range of genres-from hip hop to Christian hymnody and traditional drumsongs to funk and R&B -author Jessica Bissett Perea registers how a density (not difference) of Indigenous ways of musicking from a vast archive of presence sounds out entanglements between structures of Indigeneity and colonialism. This work dismantles stereotypical understandings of "Eskimos," "Indians," and "Natives" by addressing the following questions: What exactly is "Native" about Native music? What does it mean to sound (or not sound) Native? Who decides? And how can in-depth analyses of Native music that center Indigeneity reframe larger debates of race, power, and representation in twenty-first century American music historiography? Instead of proposing singular truths or facts, this book invites readers to consider the existence of multiple simultaneous truths, a density of truths, all of which are culturally constructed, performed, and in some cases politicized and policed. Native ways of doing music history engage processes of sound worlding that envision otherwise, beyond nation-state notions of containment and glorifications of Alaska as solely an extraction site for U.S. settler capitalism, and instead amplifies possibilities for more just and equitable futures.

Sound Relations delves into histories of Inuit musical life in Alaska to register the significance of sound as integral to self-determination and sovereignty. Offering radical and relational ways of listening to Inuit performances across a range of genres-from hip hop to Christian hymnody and traditional drumsongs to funk and R&B -author Jessica Bissett Perea registers how a density (not difference) of Indigenous ways of musicking from a vast archive of presence sounds out entanglements between structures of Indigeneity and colonialism. This work dismantles stereotypical understandings of "Eskimos," "Indians," and "Natives" by addressing the following questions: What exactly is "Native" about Native music? What does it mean to sound (or not sound) Native? Who decides? And how can in-depth analyses of Native music that center Indigeneity reframe larger debates of race, power, and representation in twenty-first century American music historiography? Instead of proposing singular truths or facts, this book invites readers to consider the existence of multiple simultaneous truths, a density of truths, all of which are culturally constructed, performed, and in some cases politicized and policed. Native ways of doing music history engage processes of sound worlding that envision otherwise, beyond nation-state notions of containment and glorifications of Alaska as solely an extraction site for U.S. settler capitalism, and instead amplifies possibilities for more just and equitable futures.

(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: Ride On * The Fields of Athenry * The Crack Was Ninety * Sonny's Dream * Song for Ireland * The Isle of Innisfree * Nancy Spain * Three Drunken Maidens * The Ould Triangle * The Green Fields of France * When You Were Sweet Sixteen * The Rose of Allendale * My Lovely Rose of Clare * The Boys from the County Armagh * Danny Boy * Fiddlers Green * Patrick Was a Gentleman * The Rocky Road to Dublin * and many more.

ADGE CUTLER died on his way home from a gig in 1974, at a time when a major TV breakthrough was within his grasp but before his group the Wurzels reached the top of the charts. In 2012 the Wurzels continue to pack venues all over the West Country and beyond, with Adge's band-mates Tommy Banner and Pete Budd still flourishing - but what of the man who set the whole Scrumpy and Western scene under way? This, the long-overdue first Adge Cutler biography, brings him vividly back to life, not only in his eight crazy Wurzels years but from early days in his beloved Nailsea to the lively camaraderie of Portishead B power station's labourers, the thriving Bristol jazz and folk scenes of the Fifties and Sixties and his spell as Acker Bilk's 'worst roadie in the world'. All played their part in moulding his unique talent. JOHN HUDSON is the author, compiler or editor of more than thirty books of social history, regional interest and biography.

A tour de force of storytelling years in the making: a dual biography of two of the greatest songwriters, Bob Dylan and Woody Guthrie, that is also a murder mystery and a history of labor relations and socialism, big business and greed in twentieth-century America-woven together in one epic saga that holds meaning for all working Americans today. When thirteen-year-old Daniel Wolff first heard Bob Dylan's "Like a Rolling Stone," it ignited a life-long interest in understanding the rock poet's anger. When he later discovered "Song to Woody," Dylan's tribute to his hero, Woody Guthrie, Wolff believed he'd uncovered one source of Dylan's rage. Sifting through Guthrie's recordings, Wolff found "1913 Massacre"-a song which told the story of a union Christmas party during a strike in Calumet, Michigan, in 1913 that ended in horrific tragedy. Following the trail from Dylan to Guthrie to an event that claimed the lives of seventy-four men, women, and children a century ago, Wolff found himself tracing the history of an anger that has been passed down for decades. From America's early industrialized days, an epic battle to determine the country's direction has been waged, pitting bosses against workers and big business against the labor movement. In Guthrie's eyes, the owners ultimately won; the 1913 Michigan tragedy was just one example of a larger lost history purposely distorted and buried in time. In this magnificent cultural study, Wolff braids three disparate strands-Calumet, Guthrie, and Dylan-together to create a devastating revisionist history of twentieth-century America. Grown-Up Anger chronicles the struggles between the haves and have-nots, the impact changing labor relations had on industrial America, and the way two musicians used their fury to illuminate economic injustice and inspire change.

The Power of Song shows how the people of Estonia, Latvia, and Lithuania confronted a military superpower and achieved independence in the Baltic "Singing Revolution." When attacked by Soviet soldiers in public displays of violent force, singing Balts maintained faith in nonviolent political action. More than 110 choral, rock, and folk songs are translated and interpreted in poetic, cultural, and historical context. Watch the trailer: http://www.youtube.com/watch?v=Gh7vFFjK0rc

A moving portrait of the contemporary experiences of migrant Moroccan men. Umbria is known to most Americans for its picturesque rolling hills and medieval villages, but to the many migrant Moroccan men who travel there, Umbria is better known for the tobacco fields, construction sites, small industries, and the outdoor weekly markets where they work. Marginalized and far from their homes, these men turn to Moroccan traditions of music and poetry that evoke the countryside they have left- l-'arubiya, or the rural. In this book, Alessandra Ciucci takes us inside the lives of Moroccan workers, unpacking the way they share a particular musical style of the rural to create a sense of home and belonging in a foreign and inhospitable nation. Along the way, she uncovers how this culture of belonging is not just the product of the struggles of migration, but also tied to the reclamation of a noble and virtuous masculine identity that is inaccessible to Moroccan migrants in Italy. The Voice of the Rural allows us to understand the contemporary experiences of migrant Moroccan men by examining their imagined relationship to the rural through sound, shedding new light on the urgent issues of migration and belonging.

A second collection of 50 carols, mostly for SATB, some unaccompanied, and some having accompaniments for piano, organ, orchestra, or brass ensemble. Many of the carols are from traditional sources, rearranged, as well as carols written especially for this volume by composers including William Walton, Benjamin Britten, Richard Rodney Bennett, and William Mathias. Instrumental material for most of the accompanied items is available on hire. Eight Carols for Brass for 5 and 8 part brass (to accompany carols from Carols for Choirs 1 and Carols for Choirs 2) are also on sale.

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.

"Foreword by Charles Wolfe Jean Ritchie, the youngest of fourteen children born and raised in Viper, Kentucky, is considered one of the greatest balladeers in this century. Her performances have influenced the resurgence of interest in folk music and given audiences a glimpse into the heart of Appalachia. Jean Ritchie's Swapping Song Book brings together twenty-one songs from the Cumberland Mountains of Kentucky. Many are old songs, brought over by settlers from Scotland, Ireland, and England. Child ballads, gospel music, play party tunes, and frolic songs have been handed down by family members, with each generation adding or embellishing verses and melodies. This new edition retains the original text, written by Ritchie, and includes her husband George Pickow's beautiful photographs to help illustrate the stories of such songs as ""Jubilee,"" ""The Old Soap Gourd,"" and ""Ground Hog."" A new foreword by Charles Wolfe shows how Ritchie's collection of songs is ""part of the rich folk poetry"" that makes up Appalachian culture. Other books by Jean Ritchie include Folksongs of the Southern Appalachians and Singing Family of the Cumberlands.

"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!

From Aristotle to Heidegger, philosophers distinguished two orders of time, before, after and past, present, future, presenting them in a wide range of interpretations. It was only around the turn of the 1970s that two theories of time which deliberately went beyond that tradition, enhancing our notional apparatus, were produced independently of one another. The nature philosopher Julius T. Fraser, founder of the interdisciplinary International Society for the Study of Time, distinguished temporal levels in the evolution of the Cosmos and the structure of the human mind: atemporality, prototemporality, eotemporality, biotemporality and nootemporality. The author of the book distinguishes two 'dimensions' in time: the dimension of the sequence of time (syntagmatic) and the dimension of the sizes of duration or frequency (systemic). On the systemic scale, the author distinguishes, in human ways of existing and acting, a visual zone, zone of the psychological present, zone of works and performances, zone of the natural and cultural environment, zone of individual and social life and zone of history, myth and tradition. In this book, the author provides a synthesis of these theories.

This book explores the growing phenomenon of music tourism - instances of people visiting places because of a connection with music. Asking how an abstract art form such as music can lead to tourism and how the popularity of music tourism in contemporary culture might be explained, it presents a comparative study of musical tourism in various locations across Europe, in relation to a range of musical genres. Through the concept of 'musical topophilia', the author offers a timely and insightful analysis of the affective attachment to place and music, showing how and why music literally moves people. This account enables us to grasp the complex ways in which music, place, and tourism are connected in practice. Based on empirical case studies, Contemporary Music Tourism lays the foundation for a theoretical grounding of music tourism as a research field and, as such, will appeal to scholars of geography, music, sociology, tourism, and cultural studies.

" For sixty years, Renfro Valley has highlighted some of the biggest and most influential names in country and folk music. The show began in the 1930s as a combination radio broadcast and stage performance, and today it has grown into an array of shows and headliner concerts featuring old-time country music, country gospel, modern country, bluegrass, and comedy acts. John Lair, the ambitious and deeply committed founder of Renfro Valley, was fascinated with the past. He created the Renfro Valley Barn Dance to give radio listeners the experience of an old-fashioned rural hoe-down. He resisted the encroachment of popular ""cowboy songs"" and kept the stage and the airwaves filled with authentic Kentucky mountain music. Lair's vision struck a chord with music fans: on some Saturday nights, more than ten thousand people arrived at Renfro Valley and performances went on all night to accommodate the audiences. Pete Stamper, a forty-seven year veteran of Renfro Valley, traces the show's history from its early radio days in Cincinnati and Chicago, through the glory years in the 1940s, the lean times in the 1960s when rock and roll seemed to take over the music scene, to its renewed popularity in the 1990s. Once known as ""the valley where time stands still,"" Renfro Valley has updated its programming while maintaining the feel of the folk culture on which it was founded. Red Foley, the Coon Creek Girls, Slim Miller, Pee Wee King, Old Joe Clark, and a host of other musicians and performers helped shape the development of Renfro Valley. Stamper describes the role of the Valley in the commercial history of country music and highlights John Lair's invaluable contribution to country music as a talent scout, businessman, and collector of traditional music of the South.

Since World War I, the self-contained communities of Gaelic-speaking Scotland, characterised by collaborative effort and a robust sense of communal identity, have been transformed. Improved transport and communications have brought today's Gaelic speakers into the culture of mainstream Western society. Once an integral part of daily life, Gaelic singing has become an art form heard less at home than on concert platforms, at the Mod, and on commercial recordings, where a "good voice" and emotive style - neither part of the traditional aesthetic - help singers differentiate themselves in the traditional music marketplace. Written in an accessible style and providing guidance for those wishing to access audible examples, this book will help both scholars and general readers grasp the magnitude of change as it has transformed an important aspect of Scottish Gaelic culture.

This is the first complete publication of the late composer and scholar Ruth Crawford Seeger's major work on American folksongs. It preserves them as well as demonstrates how they should be played so that they remain a living partof the American musical tradition. This is the first publication of an annotated monograph by the noted composer and folksong scholar Ruth Crawford Seeger. Originally written as a foreword for the 1940 book Our Singing Country, it was considered too longand was replaced by a much shorter version. According to her stepson, Pete Seeger, when the original was not included "Ruth suffered one of the biggest disappointments of the last ten years of her life. It just killed her . . .She was trying to analyze the whole style and problem of performing this music." Along with her children Mike and Peggy Seeger, he has long desired to see this work in print as it was meant to be read. The manuscript hasbeen edited from several varying sources by Larry Polansky, with the assistance of Seeger's biographer Judith Tick. It is divided into two sections: I. "A Note on Transcription" and II. "Notes on the Songs and on Manners of Singing." Seeger examines all aspects of the relationship between singer, song, notation, the eventual performer, and the transcriber. In Section I, Seeger develops a complex and well-organized system of notation for these songs which is meant to be both descritive [transcription as cultural preservation] and prescriptive [she intended that others would be able to perform these songs]. In Section II, she provides an interpretive theory for performance of this music, and suggests how performers might make the songs "their own" through a deep knowledge of the original styles. Ruth Crawford Seeger considered this work to be both a major accomplishment and a central statement of herownideas on the topic. Larry Polansky is Associate Professor of Music at Dartmouth College, and a well-known composer and theorist on American music. Judith Tick is Professor of Music at Northeastern University and author of the first major biography of Ruth Crawford Seeger.

This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.

The African Diaspora presents musical case studies from various regions of the African diaspora, including Africa, the Caribbean, Latin America, North America, and Europe, that engage with broader interdisciplinary discussions about race, gender, politics, nationalism, and music. Featured here are jazz, wassoulou music, and popular and traditional musics of the Caribbean and Africa, framed with attention to the reciprocal relationships of the local and the global.

The last decade has witnessed the rise of the cell phone from a mode of communication to an indispensable multimedia device, and this phenomenon has led to the burgeoning of mobile communication studies in media, cultural studies, and communication departments across the academy. The Routledge Companion to Mobile Media seeks to be the definitive publication for scholars and students interested in comprehending all the various aspects of mobile media. This collection, which gathers together original articles by a global roster of contributors from a variety of disciplines, sets out to contextualize the increasingly convergent areas surrounding social, geosocial, and mobile media discourses. Features include: comprehensive and interdisciplinary models and approaches for analyzing mobile media; wide-ranging case studies that draw from this truly global field, including China, Africa, Southeast Asia, the Middle East, and Latin America, as well as Europe, the UK, and the US; a consideration of mobile media as part of broader media ecologies and histories; chapters setting out the economic and policy underpinnings of mobile media; explorations of the artistic and creative dimensions of mobile media; studies of emerging issues such as ecological sustainability; up-to-date overviews on social and locative media by pioneers in the field. Drawn from a range of theoretical, artistic, and cultural approaches, The Routledge Companion to Mobile Media will serve as a crucial reference text to inform and orient those interested in this quickly expanding and far-reaching field.

Originally published in 1995. This book's collection of key essays presents a coherent overview of touchstone statements and issues in the study of Anglo-American popular ballad traditions and suggests ways this panoramic view affords us a look at Euro-American scholarship's questions, concerns and methods. The study of ballads in English began early in the eighteenth century with Joseph Addison's discussions which marked the onset of an aesthetic and scholarly interest in popular traditions. Therefore the collection begins with him and then chronologically includes scholars whose views mark pivotal moments which taken together tell a story that does not emerge through an examination of the ballads themselves. The book addresses debates in tradition, orality, performance and community as well as national genealogies and connections to contexts. Each selected piece is pre-empted by an introductory section on its importance and relevance.

Focus: Scottish Traditional Music engages methods from ethnomusicology, popular music studies, cultural studies, and media studies to explain how complex Scottish identities and culture are constructed in the traditional music and culture of Scotland. This book examines Scottish music through their social and performative contexts, outlining vocal traditions such as lullabies, mining songs, Scottish ballads, herding songs, and protest songs as well as instrumental traditions such as fiddle music, country dances, and informal evening pub sessions. Case studies explore the key ideas in understanding Scotland musically by exploring ethnicity, Britishness, belonging, politics, transmission and performance, positioning the cultural identity of Scotland within the United Kingdom. Visit the author's companion website at http://www.scottishtraditionalmusic.org/ for additional resources.

Pipers takes the reader inside the world of the performer community of Scottish piping, introducing the instrument itself and the various different repertories. It also discusses piping techniques as well as information on some of the great piping dynasties and individual pipers. Dr Willie Donaldson shows how 'traditional music', often assumed to be the anonymous product of a dim and distant past, is the creation of gifted individuals operating in a sophisticated and vigorously ongoing enterprise. Since pipers have often been skilled also on the fiddle, keyboards and small-pipes, or as singers or dancers, their story offers fascinating insights into the whole traditional music and song repertoire of Scotland. Pipers is a well-informed and highly readable account by a prize-winning author who is a piper and composer of pipe music as well as an internationally recognised historian of Scottish tradition.

This companion to The Ethnomusicologists' Cookbook combines scholarship with a unique approach to the study of the world's foods, musics, and cultures. Covering over four dozen regions, the entries in these collection each include a regional food-related proverb, a recipe for a complete meal, a list of companion readings and listening pieces, and a short essay that highlights the significant links between music and food in the area. The Ethnomusicologists' Cookbook, Volume 2 will appeal to ethnomusicologists, anthropologists, and sociologists, but should also find a welcome place on the bookshelf of anyone who enjoys eating and learning about foods from around the world.