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The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945-1980 (Paperback)
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The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945-1980 (Paperback)
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This work represents the first comparative study of the folk
revival movement in Anglophone Canada and the United States and
combines this with discussion of the way folk music intersected
with, and was structured by, conceptions of national affinity and
national identity. Based on original archival research carried out
principally in Toronto, Washington and Ottawa, it is a thematic,
rather than general, study of the movement which has been
influenced by various academic disciplines, including history,
musicology and folklore. Dr Gillian Mitchell begins with an
introduction that provides vital context for the subject by tracing
the development of the idea of 'the folk', folklore and folk music
since the nineteenth century, and how that idea has been applied in
the North American context, before going on to examine links forged
by folksong collectors, artists and musicians between folk music
and national identity during the early twentieth century. With the
'boom' of the revival in the early sixties came the ways in which
the movement in both countries proudly promoted a vision of nation
that was inclusive, pluralistic and eclectic. It was a vision which
proved compatible with both Canada and America, enabling both
countries to explore a diversity of music without exclusiveness or
narrowness of focus. It was also closely linked to the idealism of
the grassroots political movements of the early 1960s, such as
integrationist civil rights, and the early student movement. After
1965 this inclusive vision of nation in folk music began to wane.
While the celebrations of the Centennial in Canada led to a
re-emphasis on the 'Canadianness' of Canadian folk music, the
turbulent events in the United States led many ex-revivalists to
turn away from politics and embrace new identities as introspective
singer-songwriters. Many of those who remained interested in
traditional folk music styles, such as Celtic or Klezmer music,
tended to be very insular and conservative in their approach,
rather than linking their chosen genre to a wider world of folk
music; however, more recent attempts at 'fusion' or 'world' music
suggest a return to the eclectic spirit of the 1960s folk revival.
Thus, from 1945 to 1980, folk music in Canada and America
experienced an evolving and complex relationship with the concepts
of nation and national identity. Students will find the book useful
as an introduction, not only to key themes in the folk revival, but
also to concepts in the study of national identity and to topics in
American and Canadian cultural history. Academic specialists will
encounter an alternative perspective from the more general, broad
approach offered by earlier histories of the folk revival movement.
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