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CONTENTS: The Boyne Water Brian O'Linn By Memory Inspired Charming Mary Neal Colleen Rue The Croppy Boy The Cruiskeen Lawn The Dear and Darling Boy Drimmin Dubh Dheelish Garryowen Hannah Healy, the Pride of Howth The Irish Grandmother The Irishman's Farewell to His Country Irish Molly O Jenny from Ballinasloe Johnny, I Hardly Knew Ye The Lamentation of Hugh Reynolds Lanigan's Ball A Lay of the Famine Mackenna's Dream The Maid of Cloghroe Molly Muldoon The Native Irishman Nell Flaherty's Drake Protestant Boys The Rakes of Mallow The Shan Van Vocht Shule Aroon The Sorrowful Lamentation of Callaghan, Greally, and Mullen The Star of Slane Tipperary Recruiting Song Trust to Luck The Wearin' O' the Green Willy Reilly

Words and music, in both English and Welsh; this reprint is of the 1884 edition.

This work consists of a list of references in the New York Public Library with regard to the folk music of the American continents. The compiler endeavored to make the material represented in the Library available to its readers and to offer the student a bibliographical basis for the study of American folk music in its various departments. The departments found within are: Canadian; Cowboy; Creole; Eskimo; Indian, North American, not including Mexican; Indian, Central and South American, including Mexican; Latin American; Negro (North American); Negro (Central and South American); United States; with an appendix on musical instruments.

The Light Crust Doughboys are one of the most long-lived and musically versatile bands in America. Formed in the early 1930s under the sponsorship of Burrus Mill and Elevator Company of Fort Worth, Texas, with Bob Wills and Milton Brown (the originator of western swing) at the musical helm and future Texas governor W. Lee "Pappy" O'Daniel as band manager and emcee, the Doughboys are still going strong in the twenty-first century. Arguably the quintessential Texas band, the Doughboys have performed all the varieties of music that Texans love, including folk and fiddle tunes, cowboy songs, gospel and hymns, commercial country songs and popular ballads, honky-tonk, ragtime and blues, western swing and jazz, minstrel songs, movie hits, and rock 'n' roll.

In this book, Jean Boyd draws on the memories of Marvin "Smokey" Montgomery and other longtime band members and supporters to tell the Light Crust Doughboys story from the band's founding in 1931 through the year 2000. She follows the band's musical evolution and personnel over seven decades, showing how band members and sponsors responded to changes in Texas culture and musical tastes during the Great Depression, World War II, and the postwar years. Boyd concludes that the Doughboys' willingness to change with changing times and to try new sounds and fresh musical approaches is the source of their enduring vitality. Historical photographs of the band, an annotated discography of their pre-World War II work, and histories of some of the band's songs round out the volume.

From the dance halls to the main stage, from small town Texas to the big cities, musica tejana is rapidly becoming known as a rich and vibrant form of American music. The twentieth century has seen Texas Mexican music balance between the traditional and the modern, remaining rooted in Mexico while taking nourishment from Africa, Europe, the Caribbean, and the United States.

In Tejano Proud, Guadalupe San Miguel, Jr., provides a history of the evolution of musica tejana -- its ups and downs and its importance to Mexican Texas culture in the context of Anglo-Mexican relations. He also discusses the more recent development of the Tejano recording industry and the role women have begun to play in an industry long dominated by men.

Eight Miles High documents the evolution of the folk-rock movement from mid-1966 through the end of the decade. This much-anticipated sequel to Turn! Turn! Turn!(00330946) - the acclaimed history of folk-rock's early years - portrays the mutation of the genre into psychedelia via California bands like the Byrds and Jefferson Airplane; the maturation of folk-rock composers in the singer-songwriter movement; the re-emergence of Bob Dylan and the creation of country-rock; the rise of folk-rock's first supergroup, CSN&Y; the origination of British folk-rock; and the growing importance of major festivals from Newport to Woodstock. Based on firsthand interviews with such folk-rock visionaries as: Jorma Kaukonen, Roger McGuinn, Donovan, Judy Collins, Jim Messina, Dan Hicks and dozens of others.

For the past half century, Ralph Emery's incredibly popular radio and television programs have allowed millions to tune into the newest hits and savor their old favorites. Now Ralph combines his unique perspective with an encyclopedic wealth of country lore as he examines the changing face of the music he loves. From Hank Williams, George Jones, Loretta Lynn, and Johnny Cash to Garth Brooks, Shania Twain, and the Dixie Chicks, he chronicles the lives and careers of the stars, many of them his close friends. He shows how country music has changed over the years, but also reveals how its eternal themes and timeless melodies have kept this quintessentially American genre alive and well for fans of all ages.

" It is said that Bascom Lamar Lunsford would "cross hell on a rotten rail to get a folk song" -- his Southern highlands folk-song compilations now constitute one of the largest collections of its kind in the Library of Congress -- but he did much more than acquire songs. He preserved and promoted the Appalachian mountain tradition for generations of people, founding in 1928 the Mountain Dance and Folk Festival in Asheville, North Carolina, an annual event that has shaped America's festival movement. Loyal Jones pens a lively biography of a man considered to be Appalachian music royalty. He also includes a "Lunsford Sampler" of ballads, songs, hymns, tales, and anecdotes, plus a discography of his recordings.

White-winged schooners once dominated commerce and culture on the Great Lakes, and songs relieved the hours on board, but that way of life and its music ended when steam-driven mechanical boats swept schooners from the inland seas. Ivan H. Walton, late professor of English in the School of Engineering at the University of Michigan, restored the music once heard on schooners of the Great Lakes in Windjammers: Songs of the Great Lakes Sailors. Edited by Joe Grimm, this book gives a firsthand musical picture of how sailors once lived aboard these ships.

Recognizing in the late 1930s, almost too late, that this rich oral tradition was going to the grave along with the last generation of schoonermen, Walton undertook a quest to save the songs of the Great Lakes sailors. Racing time and its ravages, he searched out ancient mariners in lakefront hospitals, hangouts, and watering holes. Walton reconstructed songs from one of the most colorful periods in American history, discovering melodies and lyrics to more than a hundred songs. These songs lightened sailors' labors, bringing them together while they worked hard on deck and filling their idle hours off watch. They sang as they hoisted sails, pumped out the hold, or tramped around the capstan to weigh anchor. They created songs about food, life aboard the ship, the Old Man, and the girls they left behind. They poked fun at other vessels as well as their own. They sang laments to ghost ships lost in the night or ships torn to pieces in the teeth of a gale.

With its stories, lyrics, musical scores by folksinger/historian Lee Murdock, and accompanying CD, Windjammers ensures that sailing chanteys that have not been heard for over one hundredyears can be heard again and again far into the future.

Tumbling Tumbleweeds and Cool Water are only a couple of the hundreds of songs created by the Sons of the Pioneers, the most famous singing group in the history of Western music. Charter members Roy Rogers (Len Slye), Bob Nolan, Tim Spencer, and brothers Hugh and Karl Farr (two gifted instrumentalists from Texas) developed a unique style of vocal control and harmony that became the group's trademark. During the 1930s and 1940s, the prolific Nolan, along with other members of the Pioneers, composed hundreds of songs, primarily for film appearances. Although Roy Rogers left the group for movie stardom, the Pioneers appeared with the King of the Cowboys in forty-two films. There were one hundred movies appearances in all, including Rio Grande and The Searchers with John Wayne. Alumni of the Pioneers include Pat Brady, Lloyd Perryman, and Ken Curtis Festus of TV's Gunsmoke), and today the Sons of the Pioneers carry on the long tradition of their group in Branson, Missouri.

Characterized by fast-paced, highly danceable rhythms, Chutney is a fusion of traditional and contemporary Indian and Caribbean influences. With its roots in the OutsHindi folk songs performed at birth and wedding ceremonies, Chutney has recently emerged in contemporary Indian-Caribbean life and has gone largely unrecognized in the body of scholarly literature.

In this volume Tina K. Ramnarine explores the evolution of Chutney and introduces the emerging Indian-Caribbean genre into the arena of scholarly discourse about music. Through analysis of the music, Ramnarine provides insights into social processes, effects of the diasporic settlements, and ways the music operates as a symbol of Indian-Caribbean identity. Some of the Indian elements in Chutney are not traditional, rather they are new ideas incorporated into the construction of the Indian-Caribbean identity. This introduction of new cultural elements is a common occurrence among people who have been transplanted to an unfamiliar geographical and cultural environment.

Rock it Come Over describes the music and lore of slavery from the early sixteenth century through emancipation in 1838 to the mid twentieth century. Lewin explores the role of music in the lives of the slaves as a method of communication, as a form of resistance and subversion, as a repository of oral history and beliefs, and, ultimately, as a means of survival.

The work is based on decades of research into the music sung and played by the working people of Jamaica. Lewin relates the music to traditions that preserve an African way of life, such as Revivalism and its strong heritage of faith and worship. She has a special interest in the Kumina cult and describes in detail the life and beliefs of Kumina queen, Imogene 'Queenie' Kennedy.

Rock it Come Over is the most extensive study of Jamaican folk music yet published. It is also an examination of the roots of that music and a record of the folk heritage that is, in spite of many efforts, rapidly retreating before the pressures of life today.

Based on extensive fieldwork and documentary research in China, this book is a chronicle of the musical history of Lijiang County in China's southern Yunnan Province. It focuses on Dongjing music, repertoire borrowed from China's Han ethnic majority by the indigenous Naxi inhabitants of Lijiang County. Used in Confucian worship as well as in secular entertainment, Dongjing music played a key role the Naxi minority's assimilation of Han culture over the last 200 years. Prized for its complexity and elegance, which set it apart from "rough" or "simpler" indigenous Naxi music, Dongjing played an important role in defining social relationships, since proficiency in the music and membership in the Dongjing associations signified high social status and cultural refinement. In addition, there is a strong political component in its examination of the role of indigenous music in the relation of a socialist state to its ethnic minorities.

Celtic music means many things to many people. To some it recalls the Irish rebel songs of the Clancy Brothers, to others the ensemble playing of the Chieftains or Enya's ethereal vocals. Yet Celtic music is much more than reels, jigs, and sentimental ballads. It is also unaccompanied singing, feverish fiddle tunes, the sweet strains of the Irish uileann pipes. It comes not just from Ireland and Scotland but from Wales, Brittany, the Isle of Man, and Cornwall. It informs the musical roots of Van Morrison and U2, the performances of Riverdance, and the scores for such films as Braveheart and Titanic. Celtic Music explores all aspects of this music-from its roots to the exciting developments on the contemporary scene. Sawyers profiles hundreds of artists, and compiles suggestions for recommended listening as well as the one hundred essential Celtic recordings. Lists of Celtic festivals and publications are also included, together with record outlets, record labels, and music schools, making this book essential for all lovers of the music.

This comprehensive guidebook features both traditional and genre-stretching Celtic music, and features information on the music's wide-ranging instrumentation, including drums, fiddles, harps, and more. Color photos.

" A legend in the folk music community, John Jacob Niles enjoyed a lengthy career as a balladeer, folk collector, and songwriter. Ever close to his Kentucky roots, he spent much of his adulthood searching for the most well-loved songs of the southern Appalachia. The Ballad Book of John Jacob Niles brings together a wealth of songs with the stories that inspired them, arranged by a gifted performer. This new edition includes all of the melodies, text, commentary, and illustrations of the 1961 original and features a new introduction by Ron Pen, director of the John Jacob Niles Center for American Music at the University of Kentucky."

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.

'Mashindano' - from Kiswahili, Kushindana (to compete) - is a generic term for any organised competitive event. Here it relates to popular entertainment activities within which cultural groups competing for recognition by their communities, as leaders in their fields. Nineteen leading scholars contribute new studies on this little researched area, making a long overdue contribution to musical scholarship in East Africa, with a focus on Tanzania. The authors address key questions: What are the various roles played by competitive pratices in musical contexts? How do music competitions act as mechanisms of innovation? How do music competitions act as mechanisms of innovation? How do they serve their communities in identity formation? And what, specifically, do competitive music practices communicate, and to whom? Local dance contests, choir competitions, popular entertainment, song duels, and sporting events are all described. Work is drawn from ethnomusicology, history, musicology, anthropology, folklore, and literary, post-colonial, and performance studies.

Long a favorite on dance floors in Latin America, the "porro, cumbia, " and "vallenato" styles that make up Colombia's "musica tropical" are now enjoying international success. How did this music--which has its roots in a black, marginal region of the country--manage, from the 1940s onward, to become so popular in a nation that had prided itself on its white heritage? Peter Wade explores the history of "musica tropical," analyzing its rise in the context of the development of the broadcast media, rapid urbanization, and regional struggles for power. Using archival sources and oral histories, Wade shows how big band renditions of "cumbia" and "porro" in the 1940s and 1950s suggested both old traditions and new liberties, especially for women, speaking to a deeply rooted image of black music as sensuous. Recently, nostalgic, "whitened" versions of "musica tropical" have gained popularity as part of government-sponsored multiculturalism.
Wade's fresh look at the way music transforms and is transformed by ideologies of race, nation, sexuality, tradition, and modernity is the first book-length study of Colombian popular music.

The fast-paced zouk of Kassav', the romantic biguine of Malavoi, the jazz of Fal Frett, the ballads of Mona, and reggae of Kali and Poglo are all part of the burgeoning popular music scene in the French Caribbean. In this lively book, Brenda F. Berrian chronicles the rise of this music, which has captivated the minds and bodies of the Francophone world and elsewhere.
Based on personal interviews and discussions of song texts, Berrian shows how these musicians express their feelings about current and past events, about themselves, their islands, and the French. Through their lyrical themes, these songs create metaphorical "spaces" that evoke narratives of desire, exile, subversion, and Creole identity and experiences. Berrian opens up these spaces to reveal how the artists not only engage their listeners and effect social change, but also empower and identify themselves. She also explores the music as it relates to the art of drumming, and to genres such as African American and Latin jazz and reggae. With "Awakening Spaces, " Berrian adds fresh insight into the historical struggles and arts of the French Caribbean.

Texas-Mexican music, or musica tejana, is not one single music but several musical and musico-literary genres, ensembles, and their styles, encompassing the corrido, cancion, and what author Manuel Pena calls the cancion-corrido. Musica tejana also includes two major regional ensembles and their styles-the conjunto and the Texas-Mexican version of the orquesta. A more recent crop of synthesizer-driven ensembles and their styles, known since the mid-eighties as "Tejano," is another representative of musica tejana. Despite their diversity, these various ensembles, genres, and styles share two fundamental characteristics: they are all homegrown, and they all speak after their own fashion to fundamental social processes shaping Texas-Mexican society. As Pena persuasively argues, they represent a transforming cultural economy and its effects on Texas-Mexicans. Pena traces the history of musica tejana from the fandangos and bailes of the nineteenth century through the cancion ranchera and the politically informed corrido to the most recent forms of Tejano music. In the beginning, he argues, musicmaking was a function of "use-value"-its symbolic power linked to the social processes of which it was an organic part. As musica tejana was swept into the commercial market, it added a second, less culturally grounded dimension-"exchange-value"-whereby it came under the culturally weakening influence of the commercial market. Since the 1940s, the music has oscillated between the extremes of use- and exchange-value, though it has never lost its power to speak to issues of identity, difference, and social change. Musica Tejana thus gives not only a detailed overview of musica tejana but also analyzes the social and economic implications of the music. The breadth, depth, and clarity with which Pena has treated this subject make this a most useful text for those interested in ethnomusicology, folklore, ethnic studies, and Mexican American culture. Manuel Pena, who received his Ph.D. in ethnomusicology and folklore from the University of Texas, has been a professor of anthropology and music at the University of Texas at Austin and California State University, Fresno. He is the author of The Texas-Mexican Conjunto: History of a Working-Class Music and The Mexican American Orquesta: Music, Culture, and the Dialectic of Conflict.

Hard Rain ranges over thirty years of Bob Dylan's recordings, films, and concerts to deliver astute insights into-and sometimes heretical judgements of-his prodigious corpus of work. This updated edition includes a new epilogue that examines Dylan's thirtieth anniversary celebration in 1992; his albums Good As I Been to You, World Gone Wrong, and Time Out of Mind; his 1997 performance before the Pope; and his 1998 Grammy Award comeback. The result is unparalleled rock criticism.

Samba is Brazil's ""national rhythm"", the symbol of its culture and nationhood. It symbolizes the racial and cultural mixture that, since the 1930s, most Brazilians have come to believe defines their unique national identity. But how did Brazil become ""the Kingdom of Samba"" only a few decades after abolishing slavery in 1888? The author of this book shows that the nationalization of samba actually rested on a long history of relations between different social groups, often working at cross-purposes to one another.

Winner of the Belmont University Prize for Best Book on Country Western Music. Alan Munde and Joe Carr are the best known as superb bluegrass musicians. In this book they demonstrate that they are also good historians, and that they understand the full range of styles generally associated with country music. And better than anyone else so far, they have described and explained the vital contributions made by West Texas musicians to the music of America and the world. Ever since the Amarillo fiddler Eck Robertson inaugurated country music's commercial history with his first recordings in 1922, West Texas musicians have played major innovative roles in the shaping and popularization of the nation's popular music forms. The Beatles emerged from the gritty industrial world of Liverpool, but their musical roots run directly to Buddy Holly and the Texas plains. People who have wondered how such remarkable music talent could emerge from the vast seemingly empty landscape of West Texas need look no farther than this important and compelling book. --Bill C. Malone West Texas music, like the West Texas wind, is hard to describe, but once it blows by, it's hard to forget. This book is a powerful historical documentation of that music and the musicians who brought it to life. I love it --Sonny Curtis It's a wonderful book, and the title says it all. When you grow up with country music, you never stray far from it because a Texan is a Texan is a Texan. --Waylon Jennings. Picker/teachers Joe Carr and Alan Munde have written a wholly delightful, informative book.... --Billboard Magazine