Download Free The Downhome Sound Book in PDF and EPUB Free Download. You can read online The Downhome Sound and write the review.

American roots music, also known as Americana music, can be challenging to categorize, spanning the genres of jazz, bluegrass, country, blues, rock and roll, and an assortment of variations in between. In The Downhome Sound, Mandi Bates Bailey explores the messages, artists, community, and appeal of this seemingly disparate musical collective. To understand the art form’s intended meanings and typical audiences, she analyzes lyrics and interviews Americana artists, journalists, and festival organizers to uncover a desire for inclusion and diversity. Bailey also conducts an experiment to assess listener reception relative to more commercial forms of music. The result is an in-depth study of the political and cultural influence of Americana and its implications for social justice.
"A collection of outstanding folk blues lyrics composed and sung by black Americans and sold on commercial records in American black communities during the dozen or so year following World War II."--Preface.
Hailed as a classic in music studies when it was first published in 1977, Early Downhome Blues is a detailed look at traditional country blues artists and their work. Combining musical analysis and cultural history approaches, Titon examines the origins of downhome blues in African American society. He also explores what happened to the art form when the blues were commercially recorded and became part of the larger American culture. From forty-seven musical transcriptions, Titon derives a grammar of early downhome blues melody. His book is enriched with the recollections of blues performers, audience members, and those working in the recording industry. In a new afterword, Titon reflects on the genesis of this book in the blues revival of the 1960s and the politics of tourism in the current revival under way.
The Bloomsbury Handbook of Popular Music and Social Class is the first extensive analysis of the most important themes and concepts in this field. Encompassing contemporary research in ethnomusicology, sociology, cultural studies, history, and race studies, the volume explores the intersections between music and class, and how the meanings of class are asserted and denied, confused and clarified, through music. With chapters on key genres, traditions, and subcultures, as well as fresh and engaging directions for future scholarship, the volume considers how music has thought about and articulated social class. It consists entirely of original contributions written by internationally renowned scholars, and provides an essential reference point for scholars interested in the relationship between popular music and social class.
This is an examination of the crucial formative period of Chinese attitudes toward nuclear weapons, the immediate post-Hiroshima/Nagasaki period and the Korean War. It also provides an account of US actions and attitudes during this period and China's response.
Jerrilyn McGregory explores sacred music and spiritual activism in a little-known region of the South, the Wiregrass Country of Georgia, Alabama, and North Florida. She examines African American sacred music outside of Sunday church-related activities, showing that singing conventions and anniversary programs fortify spiritual as well as social needs. In this region African Americans maintain a social world of their own creation. Their cultural performances embrace some of the most pervasive forms of African American sacred music—spirituals, common meter, Sacred Harp, shape-note, traditional, and contemporary gospel. Moreover, the contexts in which they sing include present-day observations such as the Twentieth of May (Emancipation Day), Burial League Turnouts, and Fifth Sunday. Rather than tracing the evolution of African American sacred music, this ethnographic study focuses on contemporary cultural performances, almost all by women, which embrace all forms. These women promote a female-centered theology to ensure the survival of their communities and personal networks. They function in leadership roles that withstand the test of time. Their spiritual activism presents itself as a way of life. In Wiregrass Country, “You don't have to sing like an angel” is a frequently expressed sentiment. To these women, “good” music is God's music regardless of the manner delivered. Therefore, Downhome Gospel presents gospel music as being more than a transcendent sound. It is local spiritual activism that is writ large. Gospel means joy, hope, expectation, and the good news that makes the soul glad.
The South—an inspiration for songwriters, a source of styles, and the birthplace of many of the nation's greatest musicians—plays a defining role in American musical history. It is impossible to think of American music of the past century without such southern-derived forms as ragtime, jazz, blues, country, bluegrass, gospel, rhythm and blues, Cajun, zydeco, Tejano, rock'n'roll, and even rap. Musicians and listeners around the world have made these vibrant styles their own. Southern Music/American Music is the first book to investigate the facets of American music from the South and the many popular forms that emerged from it. In this substantially revised and updated edition, Bill C. Malone and David Stricklin bring this classic work into the twenty-first century, including new material on recent phenomena such as the huge success of the soundtrack to O Brother, Where Art Thou? and the renewed popularity of Southern music, as well as important new artists Lucinda Williams, Alejandro Escovedo, and the Dixie Chicks, among others. Extensive bibliographic notes and a new suggested listening guide complete this essential study.
A discographical guide to more than 3,000 blues and gospel LPs, CDs, and cassettes with information on the featured artists, and the quality and availability of the recordings.
In American music, the notion of "roots" has been a powerful refrain, but just what constitutes our true musical traditions has often been a matter of debate. As Benjamin Filene reveals, a number of competing visions of America's musical past have vied fo
This Omnibus E-book brings together all four issues of Southern Cultures Volume 15, published in 2009. Volume 15 of Southern Cultures explores Lee's Tomb, how Southern evangelicals kept sin from sacred spaces, the power of memorials, W.E.B. Du Bois's unusual connection to the United Daughters of the Confederacy, sundown towns, the African American architect who designed one of the South's elite institutions during Jim Crow, and both the Mississippi Delta and Core Sound Workboats in photographs. It also includes two theme issues with multimedia content, "The Edible South" and "Music." "The Edible South," our first food issue, includes the favorite foods of our favorite writers, Drum Head Stew from the Eastern Shore of Virginia, girls' tomato clubs, Wormsloe plantation, select short films on food from our friends at the Southern Foodways Alliance on the bonus DVD, and more. Our Fall special issue is our third music issue includes a never-before-published interview with "Son" Thomas, a brief history of the boogie, Ella May Wiggins, Top Ten best of jazz, blues, country, and rock greats, Emmett Till in music and song, and more. Enhanced with the 20 music tracks from the bonus CD, "Cool-Water Music," it brings together yet another eclectic mix of folk, blues, country, and alternative rock, from Pete Seeger to Whistlin' Britches to Charlie Louvin and George Jones to the Rosebuds. A feast! Southern Cultures is published quarterly (spring, summer, fall, winter) by the University of North Carolina Press. The journal is sponsored by the University of North Carolina at Chapel Hill's Center for the Study of the American South.