Song and dance style--viewed as nonverbal communications about culture--are here related to social structure and cultural history. Patterns of performance, theme, text and movement are analyzed in large samples of films an recordings from the whole range of human culture, according to the methods explained in this volume. Cantometrics, which means song as a measure of man, finds that traditions of singing trace the main historic distributions of human culture and that specific traits of performance are communications about identifiable aspects of society. The predictable and universal relations between expressive communication and social organization, here established for the first time, open up the possibility of a scientific aesthetics, useful to planners.

Jean Ritchie is the best known and most respected singer of traditional ballads in the United States. It has been nearly thirty years since she originally published Folk Songs of the Southern Appalachians, and the music found here tells the story of the "Singing Ritchie Family" at a time when railroads, coal mines, and hillbilly radio were making their first incursions into the mountains of eastern Kentucky. Built upon a foundation of balladry inherited from old-world Scotland, the family's repertoire was certainly eclectic but not haphazard. The Child ballads, lyric folksongs, play party or frolic songs, Old Regular Baptist lined hymns, Native American ballads, "hant" songs, and carols brought together in this collection were assembled by family members who actively sought out fragments of tunes and completed them by adding or embellishing verses and melodies. This new edition has faithfully retained all seventy-seven line scores of the songs and added four new ones, Loving Hannah, Lovin' Henry, Her Mantle So Green, and The Reckless and Rambling Boy. The original headnotes and photographs tell the history of the song as well as how it became a part of the family's life. Chords are indicated for accompaniment; however, music notation and the printed word can present only a reasonable facsimile of any actual song. Jean's singing is simply the best guide to how the song should be sung, so a new audiography and videography have been added to this edition.

Song and dance style--viewed as nonverbal communications about culture--are here related to social structure and cultural history. Patterns of performance, theme, text and movement are analyzed in large samples of films an recordings from the whole range of human culture, according to the methods explained in this volume. Cantometrics, which means song as a measure of man, finds that traditions of singing trace the main historic distributions of human culture and that specific traits of performance are communications about identifiable aspects of society. The predictable and universal relations between expressive communication and social organization, here established for the first time, open up the possibility of a scientific aesthetics, useful to planners. Alan Lomax is Director, Cantometrics and Choreometrics Projects at Columbia University.

Winner of a National Book Critics Circle award, a rollicking and unforgettable memoir by the man who helped bring the music of the blues into the mainstream "Without Lomax it's possible that there would have been no blues explosion, no R&B movement, no Beatles and no Stones and no Velvet Underground." -Brian Eno A self-described "song-hunter," the folklorist Alan Lomax traveled the Mississippi Delta in the 1930s and '40s, armed with primitive recording equipment and a keen love of the Delta's music heritage. Crisscrossing the towns and hamlets where the blues began, Lomax gave voice to such greats as Leadbelly, Fred MacDowell, Muddy Waters, and many others, all of whom made their debut recordings with him. The Land Where the Blues Began is both a fascinating recollection of a pivotal time in American music history and an intimate portrait of the struggles blues musicians faced in the Jim Crow South. The blues were an organic expression of Black humanity in a place where slavery had been outlawed but where segregation, violence, and racial inequality were still the law of the land. Lomax's role as a liaison to white America, relating the emotion and musical virtuosity displayed by those musicians, would change American popular music forever. Through candid conversations with bluesmen and vivid, firsthand accounts of the landscape where their music was born, Lomax's "discerning reconstructions . . . give life to a domain most of us can never know . . . one that summons us with an oddly familiar sensation of reverence and dread" (The New York Times Book Review). Artistic expression has always been a way for oppressed peoples to speak truth to power, assert their dignity, and simply live in a world rife with injustice. The Land Where the Blues Began is an enthralling chronicle of the journey to bring this irrepressible art out of the Delta where it began and into the ears of every American.

Twenty-seven years in the making (1940–67), this tapestry of nearly two hundred American popular and protest songs was created by three giants of performance and musical research: Alan Lomax, indefatigable collector and preserver; Woody Guthrie, performer and prolific balladeer; and Pete Seeger, entertainer and educator who has introduced three generations of Americans to their musical heritage. In his afterword, Pete Seeger recounts the long history of collecting and publishing this anthology of Depression-era, union-hopeful, and New Deal melodies. With characteristic modesty, he tells us what’s missing and what’s wrong with the collection. But more important, he tells us what’s right and why it still matters, noting songs that have become famous the world over: “Union Maid,” “Which Side Are You On?,” “Worried Man Blues,” “Midnight Special,” and “Tom Joad.” “Now, at the turn of the century, the millennium, what’s the future of these songs?” he asks. “Music is one of the things that will save us. Future songwriters can learn from the honesty, the courage, the simplicity, and the frankness of these hard-hitting songs. And not just songwriters. We can all learn.” In addition to 123 photographs and 195 songs, this edition features an introductory note by Nora Guthrie, the daughter of Woody Guthrie and overseer of the Woody Guthrie Foundation.

44 short films looking at the folk songs, dances and traditions of Britain. Among the collection are 1912 Kinora reels, 1920s newsreels, contemporary footage from Doc Rowe and Jeremy Deller, and Alan Lomax's film 'Oss Oss Wee Oss' (1954).

When it appeared in 1950, this biography of Ferdinand "Jelly Roll" Morton became an instant classic of jazz literature. Now back in print and updated with a new afterword by Lawrence Gushee, "Mister Jelly Roll" will enchant a new generation of readers with the fascinating story of one of the world's most influential composers of jazz. Jelly Roll's voice spins out his life in something close to song, each sentence rich with the sound and atmosphere of the period in which Morton, and jazz, exploded on the American and international scene. This edition includes scores of Jelly Roll's own arrangements, a discography and an updated bibliography, a chronology of his compositions, a new genealogical tree of Jelly Roll's forebears, and Alan Lomax's preface from the hard-to-find 1993 edition of this classic work. Lawrence Gushee's afterword provides new factual information and reasserts the importance of this work of African American biography to the study of jazz and American culture.

More than fifty years ago, on a trip dubbed "the Southern Journey," Alan Lomax visited Virginia, Georgia, Alabama, Mississippi, Kentucky, and Tennessee, uncovering the little-known southern backcountry and blues music that we now consider uniquely American. Lomax's camera was a constant companion, and his images of both legendary and anonymous folk musicians complement his famous field recordings. These photographs-largely unpublished-show musicians making music with family and friends at home, with fellow worshippers at church, and alongside workers and prisoners in the fields. Discussions of Lomax's life and career by his disciple and lauded folklorist William Ferris, and a lyrical look at Lomax's photographs by novelist and Grammy Award-winning music writer Tom Piazza, enrich this valuable collection.