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Cumulative index to all three volumes of Literature of American Music in Books and Folk Music Collections.
Popular parlor songs were the main form of secular musical entertainment in the early years of the United States. They were heard regularly in the homes of our principal statesmen, authors, intellectuals, professionals, and businessmen. Laborers and slaves also sang them. They were the principal fare of concert and stage performances, and were freely interpolated into Italian operas, Shakespearean plays, lyceum lectures, and church services. In short, parlor songs played a dominant role in American cultural history. This was the music that Jefferson, Lincoln, Longfellow, Whitman, and Emily Dickinson enjoyed. Yet, whether owing to prejudice or misinformation, we still know little about the songs they listened to and sang: why and for whom written; when heard; or how performed. This book attempts to contribute that knowledge. Contemporary diaries, biographies, fiction, newspapers, periodicals, and books on music were studied and the music itself exhaustively analyzed in order to reach accurate conclusions about the popular culture that emerged between the American Revolution and the Civil War. The reader comes away with a sympathetic understanding of the human hopes, fears, and joys embodied in the songs, and with a curiosity about the countless melodic gems awaiting exploration.
This volume makes available the full range of the American/Canadian musical experience, covering-for the first time in print-all major regions, ethnic groups, and traditional and popular contexts. From musical comedy to world beat, from the songs of the Arctic to rap and house music, from Hispanic Texas to the Chinese communities of Vancouver, the coverage captures the rich diversity and continuities of the vibrant music we hear around us. Special attention is paid to recent immigrant groups, to Native American traditions, and to such socio-musical topics as class, race, gender, religion, government policy, media, and technology.
Association for Recorded Sound Collections Certificate of Merit for the Best Historical Research in Recorded Roots or World Music, 2019 A&R Pioneers offers the first comprehensive account of the diverse group of men and women who pioneered artists-and-repertoire (A&R) work in the early US recording industry. In the process, they helped create much of what we now think of as American roots music. Resourceful, innovative, and, at times, shockingly unscrupulous, they scouted and signed many of the singers and musicians who came to define American roots music between the two world wars. They also shaped the repertoires and musical styles of their discoveries, supervised recording sessions, and then devised marketing campaigns to sell the resulting records. By World War II, they had helped redefine the canons of American popular music and established the basic structure and practices of the modern recording industry. Moreover, though their musical interests, talents, and sensibilities varied enormously, these A&R pioneers created the template for the job that would subsequently become known as "record producer." Without Ralph Peer, Art Satherley, Frank Walker, Polk C. Brockman, Eli Oberstein, Don Law, Lester Melrose, J. Mayo Williams, John Hammond, Helen Oakley Dance, and a whole army of lesser known but often hugely influential A&R representatives, the music of Bessie Smith and Bob Wills, of the Carter Family and Count Basie, of Robert Johnson and Jimmie Rodgers may never have found its way onto commercial records and into the heart of America's musical heritage. This is their story.