Just as American culture has been constructed by people of many ethnicities, roots music in America is multicultural in nature. Native American music resonates from Indigenous traditions of the Great Plains and the American West. Hispanic culture has spawned Border Music styles such as Conjunto and Tejano, while Cajun and Zydeco grew from cultural cross-pollination in the American South. In northern regions, Polish-American musicians popularized Polka, while Irish-American music holds a rich tradition throughout many regions in the East. This unique volume presents influential musical cultures from throughout the multicultural history of American vernacular song. Series blurb: This series presents five volumes on genres of music that have evolved in distinctly regional styles throughout the nation. With volumes authored by leading music scholars, the series traces the growth of Blues, Country, Folk, and Jazz in their many regional variations, as well as Ethnic and Border music traditions throughout America. Each volume presents an accessible analysis of the genre in its many regional forms, examining the musical elements and, when applicable, lyrical subjects as tied to specific cultures throughout the United States. The series features: BLTraditional music placed within regional perspectives BLThe study of music shown to illustrate cultural nuances BLMusical elements explained in accessible language for the lay reader BLGlossaries of important biographical and topical entries related to the genres.

American folk music has provided a narrative thread to the fiber of the nation since its earliest days. Folk music scholar Norm Cohen presents a thorough exploration of the many ways in which folk music genres and subgenres have arisen in different regions of America. Chapters on folk song types, folk instrumentation, and the urban folk revival set further context to the discussion, and an itemized summary of noted folksong collections serves as an additional tool for both general readers and folk music scholars. American folk music has provided a narrative thread to the fiber of the nation since its earliest days. Forms ranging from New England sea chanteys to Pennsylvania Dutch worksongs helped shape life in the Northeast. Appalachian ballads evolved in the South, as did slave spirituals that served as codes for the Underground Railroad. Folk ballads on lumbering and mining grew in the Midwest and Northwest, while cowboy ballads emerged across the Great Plains and the West, and railroad songs accompanied expansion along the American frontier. Folk music scholar Norm Cohen presents a thorough exploration of the many ways in which folk music genres and subgenres have arisen in different regions of America. Chapters on folk song types, folk instrumentation, and the urban folk revival set further context to the discussion, and an itemized summary of noted folksong collections serves as an additional tool for both general readers and folk music scholars. The Greenwood Guide to American Roots Music series includes volumes on musical genres that have pervaded American culture. Each volume explores the different ways that selected genres, such as folk music, have evolved naturally in different regions and scenes thoughout the nation.

In the spring of 1982, we began our collaboration while on sabbatical in Jerusa lem. Working together at Hadassah Medical Center, we discovered that we had overlapping and complementary interests. The wonderful surroundings com bined with a warm friendship nourished the development of this book. E. G. S: s interest in neuropsychology, cognitive function, and diagnostic clas sification and A. A R: s interest in the development of normal sexual behavior, incest and its consequences for psychopathology, and psychoanalytic thought provided a broad perspective on the field of somatoform disorders. For E. G. S., Lawrence A. Lockman, a faculty member in pediatric neurology at the Univer sity of Minnesota who has a great interest in these cases, was particularly helpful. Many of the ideas on case management came from his admonitions to the house staff on rounds regarding proper management of patients and families. When we began to write the book in the fall of 1984, two students of E. G. S: s became involved. Norman Cohen, then a post doc, was very interested in pain and biofeedback, having worked extensively in the Pain Clinic at the University of Minnesota Hospitals. He was seeing many of the children in the clinic who required biofeedback and was especially interested in those with headache. He agreed to write the chapter on headache."