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This unique volume is the only book solely about antebellum American fiddling. It includes more than 250 easy-to-read and clearly notated fiddle tunes alongside biographies of fiddlers and careful analysis of their personal tune collections. The reader learns what the tunes of the day were, what the fiddlers’ lives were like, and as much as can be discovered about how fiddling sounded then. Personal histories and tunes’ biographies offer an accessible window on a fascinating period, on decades of growth and change, and on rich cultural history made audible. In the decades before the Civil War, American fiddling thrived mostly in oral tradition, but some fiddlers also wrote down versions of their tunes. This overlap between oral and written traditions reveals much about the sounds and social contexts of fiddling at that time. In the early 1800s, aspiring young violinists maintained manuscript collections of tunes they intended to learn. These books contained notations of oral-tradition dance tunes—many of them melodies that predated and would survive this era—plus plenty of song melodies and marches. Chris Goertzen takes us into the lives and repertoires of two such young men, Arthur McArthur and Philander Seward. Later, in the 1830s to 1850s, music publications grew in size and shrunk in cost, so fewer musicians kept personal manuscript collections. But a pair of energetic musicians did. Goertzen tells the stories of two remarkable violinist/fiddlers who wrote down many hundreds of tunes and whose notations of those tunes are wonderfully detailed, Charles M. Cobb and William Sidney Mount. Goertzen closes by examining particularly problematic collections. He takes a fresh look at George Knauff’s Virginia Reels and presents and analyzes an amateur musician’s own questionable but valuable transcriptions of his grandfather’s fiddling, which reaches back to antebellum western Virginia.
George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. Chris Goertzen uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. He first discusses the life of the arranger. Then he explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. Goertzen describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout the book, the author connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy—old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. Goertzen incorporates performance descriptions and music terminology into his accessible, engaging prose. Unlike the vast majority of books on American fiddling—regional tune collections or histories—this book presents an extended look at the history of southern fiddling and a close examination of current practices.
What do exotic area rugs, handcrafted steel-string guitars, and fiddling have in common today? Many contemporary tradition bearers embrace complexity in form and content. They construct objects and performances that draw on the past and evoke nostalgia effectively but also reward close attention. In Rugs, Guitars, and Fiddling: Intensification and the Rich Modern Lives of Traditional Arts, author Chris Goertzen argues that this entails three types of change that can be grouped under an umbrella term: intensification. First, traditional creativity can be intensified through virtuosity, through doing hard things extra fluently. Second, performances can be intensified through addition, by packing increased amounts of traditional materials into the conventionally sized packages. Third, in intensification through selection, artistic impact can grow even if amount of information recedes by emphasizing compelling ideas—e.g., crafting a red and black viper poised to strike rather than a pretty duck decoy featuring more colors and contours. Rugs handwoven in southern Mexico, luthier-made guitars, and southern US fiddle styles experience parallel changes, all absorbing just enough of the complex flavors, dynamics, and rhythms of modern life to translate inherited folklore into traditions that can be widely celebrated today. New mosaics of details and skeins of nuances don’t transform craft into esoteric fine art, but rather enlist the twists and turns and endless variety of the contemporary world therapeutically, helping transform our daily chaos into parades of negotiable jigsaw puzzles. Intensification helps make crafts and traditional performances more accessible and understandable and thus more effective, bringing past and present closer together, helping folk arts continue to perform their magic today.
North American Fiddle Music: A Research and Information Guide is the first large-scale annotated bibliography and research guide on the fiddle traditions of the United States and Canada. These countries, both of which have large immigrant populations as well as Native populations, have maintained fiddle traditions that, while sometimes faithful to old-world or Native styles, often feature blended elements from various traditions. Therefore, researchers of the fiddle traditions in these two countries can not only explore elements of fiddling practices drawn from various regions of the world, but also look at how different fiddle traditions can interact and change. In addition to including short essays and listings of resources about the full range of fiddle traditions in those two countries, it also discusses selected resources about fiddle traditions in other countries that have influenced the traditions in the United States and Canada.
Southern Fiddlers and Fiddle Contests explores the phenomenon of American fiddle contests, which now have replaced dances as the main public event where American fiddlers get together. Chris Goertzen studies this change and what it means for audiences, musicians, traditions, and the future of southern fiddle music. Goertzen traces fiddling and fiddle contests from mid-eighteenth-century Scotland to the modern United States. He takes the reader on journeys to the important large contests, such as those in Hallettville, Texas; Galax, Virginia; Weiser, Idaho; and to smaller ones, including his favorite in Athens, Alabama. He reveals what happens on stage and during such off-stage activities as camping, jamming, and socializing, which many fiddlers consider much more important than the competition. Through multiple interviews, Goertzen also reveals the fiddlers' lives as told in their own words. The reader learns how and in what environments these fiddlers started playing, where they perform today, how they teach, what they think of contests, and what values they believe fiddling supports. Southern Fiddlers and Fiddle Contests shows how such contests have become living embodiments of American nostalgia.
In 2015 University Press of Mississippi published Mississippi Fiddle Tunes and Songs from the 1930s by Harry Bolick and Stephen T. Austin to critical acclaim and commercial success. Roughly half of Mississippi’s rich, old-time fiddle tradition was documented in that volume and Harry Bolick has spent the intervening years working on this book, its sequel. Beginning with Tony Russell’s original mid-1970s fieldwork as a reference, and later working with Russell, Bolick located and transcribed all of the Mississippi 78 rpm string band recordings. Some of the recording artists like the Leake County Revelers, Hoyt Ming and His Pep Steppers, and Narmour & Smith had been well known in the state. Others, like the Collier Trio, were obscure. This collecting work was followed by many field trips to Mississippi searching for and locating the children and grandchildren of the musicians. Previously unheard recordings and stories, unseen photographs and discoveries of nearly unknown local fiddlers, such as Jabe Dillon, John Gatwood, Claude Kennedy, and Homer Grice, followed. The results are now available in this second, companion volume, Fiddle Tunes from Mississippi: Commercial and Informal Recordings, 1920–2018. Two hundred and seventy musical examples supplement the biographies and photographs of the thirty-five artists documented here. Music comes from commercial recordings and small pressings of 78 rpm, 45 rpm, and LP records; collectors’ field recordings; and the musicians’ own home tape and disc recordings. Taken together, these two volumes represent a delightfully comprehensive survey of Mississippi’s fiddle tunes.
This is a biography of Dan Levenson, an old-time banjo and fiddle player from Pittsburgh, Pennsylvania. Between 1987 and 1991, Dan worked for Goose Acres Folk Music Center in Cleveland, Ohio, where he dove deeply into old-time music. In the late 1980s, he formed the Boiled Buzzards; they recorded four albums between 1989 and 1994 and were a consistently active presence at old-time music festivals. He also played with Bob Frank during that time as one-half of the Hotfoot Duo. In 1995, he teamed up with Kim Murley and recorded New Frontier: Instrumentals from China and America. Levenson undertook his first cross-country trip as a solo performer in 1996. His traveling workshop "Meet the Banjo" ran with the sponsorship of Deering Banjos from the late 1990s to the early 2000s. Dan recorded three projects in the first five years of the 2000s and began editing the quarterly "Old Time Way" section for Banjo Newsletter in 2005. He continues performing old-time music, teaching fiddle and banjo, writing instructional and repertoire books featuring banjo and fiddle tunes for Mel Bay, and making plans for more old-time music projects.
The violin was first mentioned in a book in the sixteenth century. An abundant and diverse literature on the instrument has grown since then, and a complete general guide to these materials has not been produced in the modern era. The last, Edward Heron-Allen's De Fidiculis Bibliographia , was published in1894. This book fills that void, organizing and annotating information on the violin from a variety of fields and sources. It provides a comprehensive, though selective, guide to all facets of the instrument. The book is divided into 4 main parts: Reference and General Studies; Acoustics and Construction; Violin Playing, Performance Practice, and Music; and Violinists, Composers, and Violin Teachers. It will serve as a ready reference for students and scholars, and is a welcome addition to the esteemed Routledge Music Bibliography series.
The South has always been one of the most distinctive regions of the United States, with its own set of traditions and a turbulent history. Although often associated with cotton, hearty food, and rich dialects, the South is also noted for its strong sense of religion, which has significantly shaped its history. Dramatic political, social, and economic events have often shaped the development of southern religion, making the nuanced dissection of the religious history of the region a difficult undertaking. For instance, segregation and the subsequent civil rights movement profoundly affected churches in the South as they sought to mesh the tenets of their faith with the prevailing culture. Editors Walter H. Conser and Rodger M. Payne and the book’s contributors place their work firmly in the trend of modern studies of southern religion that analyze cultural changes to gain a better understanding of religion’s place in southern culture now and in the future. Southern Crossroads: Perspectives on Religion and Culture takes a broad, interdisciplinary approach that explores the intersection of religion and various aspects of southern life. The volume is organized into three sections, such as “Religious Aspects of Southern Culture,” that deal with a variety of topics, including food, art, literature, violence, ritual, shrines, music, and interactions among religious groups. The authors survey many combinations of religion and culture, with discussions ranging from the effect of Elvis Presley’s music on southern spirituality to yard shrines in Miami to the archaeological record of African American slave religion. The book explores the experiences of immigrant religious groups in the South, also dealing with the reactions of native southerners to the groups arriving in the region. The authors discuss the emergence of religious and cultural acceptance, as well as some of the apparent resistance to this development, as they explore the experiences of Buddhist Americans in the South and Jewish foodways. Southern Crossroads also looks at distinct markers of religious identity and the role they play in gender, politics, ritual, and violence. The authors address issues such as the role of women in Southern Baptist churches and the religious overtones of lynching, with its themes of blood sacrifice and atonement. Southern Crossroads offers valuable insights into how southern religion is studied and how people and congregations evolve and adapt in an age of constant cultural change.
The very letters of the two words seem, as they are written, to redden with the blood-stains of unavenged crime. There is Murder in every syllable, and Want, Misery and Pestilence take startling form and crowd upon the imagination as the pen traces the words." So wrote a reporter about Five Points, the most infamous neighborhood in nineteenth-century America, the place where "slumming" was invented. All but forgotten today, Five Points was once renowned the world over. Its handful of streets in lower Manhattan featured America's most wretched poverty, shared by Irish, Jewish, German, Italian, Chinese, and African Americans. It was the scene of more riots, scams, saloons, brothels, and drunkenness than any other neighborhood in the new world. Yet it was also a font of creative energy, crammed full of cheap theaters and dance halls, prizefighters and machine politicians, and meeting halls for the political clubs that would come to dominate not just the city but an entire era in American politics. From Jacob Riis to Abraham Lincoln, Davy Crockett to Charles Dickens, Five Points both horrified and inspired everyone who saw it. The story that Anbinder tells is the classic tale of America's immigrant past, as successive waves of new arrivals fought for survival in a land that was as exciting as it was dangerous, as riotous as it was culturally rich. Tyler Anbinder offers the first-ever history of this now forgotten neighborhood, drawing on a wealth of research among letters and diaries, newspapers and bank records, police reports and archaeological digs. Beginning with the Irish potato-famine influx in the 1840s, and ending with the rise of Chinatown in the early twentieth century, he weaves unforgettable individual stories into a tapestry of tenements, work crews, leisure pursuits both licit and otherwise, and riots and political brawls that never seemed to let up. Although the intimate stories that fill Anbinder's narrative are heart-wrenching, they are perhaps not so shocking as they first appear. Almost all of us trace our roots to once humble stock. Five Points is, in short, a microcosm of America.