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In the summer of 1972, a group of young people in Bloomington, Indiana, began a weekly gathering with the purpose of reviving traditional American old-time music and dance. In time, the group became a kind of accidental utopia, a community bound by celebration and deliberately void of structure and authority. In this joyful and engaging book, John Bealle tells the lively history of the Bloomington Old-Time Music and Dance Group -- how it was formed, how it evolved its unique culture, and how it grew to shape and influence new waves of traditional music and dance. Broader questions about the folk revival movement, social resistance, counter culture, authenticity, and identity intersect this delightful history. More than a story about the people who forged the group or an extraordinary convergence of talent and creativity, Old-Time Music and Dance follows the threads of American folk culture and the social experience generated by this living tradition of music and dance.
Ask an old-timer what life was like in rural upstate New York during the nineteenth and early twentieth centuries and you will hear about the dances and bees that brought villagers and farmers together. You will hear of favorite fiddlers who held center stage with dance tunes taken from early British and American sources. You will hear of old-time music and its significance to a people making the transition from a rural, agricultural life to an urban, industrial one. Old-Time Music Makers of New York State is the first book published on this rich legacy of traditional Anglo-American music and dance. It traces the development of old-time music beginning with its movement into New York State from New England in the early nineteenth century and to its combination with commercial country music in the twentieth century. Exploring the regional character of the music and its meaning co the people who enjoy it, Bronner introduces memorable figures from the major periods in the development of old-time music, and he places their stories, their lives, and their music in the context of the region's cultural and historical changes. This is much more than a regional study, however. Bronner brings to the fore issues of national scope and interest. He discusses the relationship of old-time music to the commercial country music with which it has been closely aligned, and he challenges the prevailing wisdom that the origins of country music are in the South. Musician, fan, folklorist, and historian alike will benefit from and enjoy this book. The many musical transcriptions, annotations, photographs, and appendixes provide a valuable reference to be used again and again.
Speed Bumps on a Dirt Roadis a living document of country music's founding fathers and mothers. John Cohen photographed musicians, at home, backstage at public events, from the wings at fiddlers' conventions, out in country music parks, and in the studio for live radio show performances and recording sessions. Back in 1961 it was still possible to know a few of America's original country musicians from the '20s and '30s. Renowned and celebrated musician and artist John Cohen came of age at the confluence of old time and early bluegrass music, the historic intersection of traditional and folk music. Cohen traveled the country playing music, recording, and documenting what was to be a generation of musicians who would influence American music and culture for decades to come. Traveling between the Union Grove fiddlers' convention to the Grand Ole Opry to a coal celebration in Hazard, Kentucky, Cohen made historic photographs of performers like Bill Monroe and Doc Watson, the country's very first all-bluegrass show, and a bluegrass bar in Baltimore, among much more.Speed Bumps on a Dirt Roadpresents old time music as the root of country music. Includes photographs of: Flatt & Scruggs, fiddler "Eck" Robertsonin Amarillo, Texas, Doc Watson, bluegrass fiddler "Tex" Logan, the Stanley Brothers at Sunset Park, Sara and Maybelle of the Carter Family, and Cousin Emmy, Alice & Hazel, and a dulcimer in a parking lot.
The Beautiful Music All Around Us presents the extraordinarily rich backstories of thirteen performances captured on Library of Congress field recordings between 1934 and 1942 in locations reaching from Southern Appalachia to the Mississippi Delta and the Great Plains. Including the children's play song "Shortenin' Bread," the fiddle tune "Bonaparte's Retreat," the blues "Another Man Done Gone," and the spiritual "Ain't No Grave Can Hold My Body Down," these performances were recorded in kitchens and churches, on porches and in prisons, in hotel rooms and school auditoriums. Documented during the golden age of the Library of Congress recordings, they capture not only the words and tunes of traditional songs but also the sounds of life in which the performances were embedded: children laugh, neighbors comment, trucks pass by. Musician and researcher Stephen Wade sought out the performers on these recordings, their families, fellow musicians, and others who remembered them. He reconstructs the sights and sounds of the recording sessions themselves and how the music worked in all their lives. Some of these performers developed musical reputations beyond these field recordings, but for many, these tracks represent their only appearances on record: prisoners at the Arkansas State Penitentiary jumping on "the Library's recording machine" in a rendering of "Rock Island Line"; Ora Dell Graham being called away from the schoolyard to sing the jump-rope rhyme "Pullin' the Skiff"; Luther Strong shaking off a hungover night in jail and borrowing a fiddle to rip into "Glory in the Meetinghouse." Alongside loving and expert profiles of these performers and their locales and communities, Wade also untangles the histories of these iconic songs and tunes, tracing them through slave songs and spirituals, British and homegrown ballads, fiddle contests, gospel quartets, and labor laments. By exploring how these singers and instrumentalists exerted their own creativity on inherited forms, "amplifying tradition's gifts," Wade shows how a single artist can make a difference within a democracy. Reflecting decades of research and detective work, the profiles and abundant photos in The Beautiful Music All Around Us bring to life largely unheralded individuals--domestics, farm laborers, state prisoners, schoolchildren, cowboys, housewives and mothers, loggers and miners--whose music has become part of the wider American musical soundscape. The hardcover edition also includes an accompanying CD that presents these thirteen performances, songs and sounds of America in the 1930s and '40s.
Since the 1960's here has been an extraordinary revival of old-time string band music in California, and indeed throughout the American West. Despite being born blind, Kenny Hall has been a mainstay of many fiddle festivals and of the Western fiddle and string band revival in general. Kenny's musical style is passionate and energetic. This book is a helpful guide to his vast repertoire learned through years of careful listening. It is also a wonderful addition to the fiddler's bookshelf and a fitting tribute to a man who, for many an aspiring fiddler, has been a friend, guide, exemplar, and patron. Many of the tunes includes nonsense lyrics that Kenny used to help him remember the melody, and each tune is accompanied by Kenny's comments. the book is divided into five chapters: fiddle- based tunes (Fiddle Faddle), mandolin-based tunes (Rags, Tags, and Wags), Waltzes, tunes from an origin other than the United States or the British Isles (Kenny's Rambles); and vocal-based pieces including lyrics (Songs, Ballads, Ditties). Some of the transcriptions are written primarily for fiddle or mandolin, but most tunes can be performed on either instrument. This deluxe guide to Kenny Hall's vast repertoire offers fans of old-time music a great way to get to know Kenny and his music.
A colorful and comprehensive history of bluegrass and old-time Appalachian music from its legendary roots to today’s Grammy-winning stars. With simple instrumentation—banjo, guitar, and base—a great variety of musical traditions converged to create the “old-timey” music of Appalachia. Over time, that mountain sound evolved into numerous genres and subgenres that continue to thrive today. Now musician and roots music historian Craig Harris takes readers on an anecdotal journey through this distinctly American music. From the Grand Ole Opry and the historic Bristol Sessions to contemporary festivals and the reemergence of Bluegrass in popular culture, Harris combines extensive research and never-before-seen photographs with more than ninety exclusive interviews. Bluegrass, Newgrass, Old-Time, and Americana Music is chock full of anecdotes about Bill Monroe, Flatt & Scruggs, Del McCoury, Doc Watson, Alison Kraus, the Nitty Gritty Dirt Band, and more.
Old Time Stringband Workshop for Fiddle is one in a set of four books, each with a matching collection of 40 traditional type fiddle tunes arranged to develop ensemble and jam session playing skills with other acoustic instruments, as well as to expand your repertoire of tunes. the music is presented in Notation with annotations for playing techniques and variations. A bonus arrangement of Star of the County Down is available as a free download. See www.melbay.com/21763.
In 'Music as Social Life', Thomas Turino explores why it is that music and dance are so often at the centre of our most profound personal and social experiences.
Popular music in Japan has been under the overwhelming influence of American, Latin American and European popular music remarkably since 1945, when Japan was defeated in World War II. Beginning with gunka and enka at the turn of the century, tracing the birth of hit songs in the record industry in the years preceding the War, and ranging to the adoption of Western genres after the War--the rise of Japanese folk and rock, domestic exoticism as a new trend and J-Pop--Popular Music in Japan is a comprehensive discussion of the evolution of popular music in Japan. In eight revised and updated essays written in English by renowned Japanese scholar Toru Mitsui, this book tells the story of popular music in Japan since the late 19th century when Japan began positively embracing the West.