Traditional and folk music Books

Book SynopsisThe full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable.Each title in the series is available in two formats: the Violin Edition (with an optional easy violin part and guitar chords); or the Complete Edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means the music can be played as solos, duets or trios as well as with larger ensembles.Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.Instrumentation:violin (2 violins), guitar ad libitum

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Book SynopsisPatrick 'Paddy' Reilly is an Irish folk singer and guitarist. Born in Rathcoole, County Dublin, he is one of Ireland's most famous balladeers and is best known for his renditions of "The Fields of Athenry", "Rose of Allendale" and "The Town I Loved So Well". Reilly released his version of "The Fields of Athenry" as a single in 1983; it was the most successful version of this song, remaining in the Irish charts for 72 weeks. After years a solo performer, he joined The Dubliners in 1996 as a replacement for long-time member Ronnie Drew. He played with the group for nine years before leaving for New York City. In this memoir, Paddy is gracious and generous about sharing his memories, good and bad, with the readers who have helped make him Ireland’s best loved balladeer for almost 60 years.Trade Reviewvery enjoyable … great memories … wonderful -- Michael Lyster in Ireland's Owntop class from start to finish -- Irish Daily StarTable of ContentsChapter 1 Good Old Days My Arse! page 7 Chapter 2 From Pat to Paddy Reilly 24 Chapter 3 Life and Love in America and Ireland 40 Chapter 4 Highs and Lows in London and Elsewhere 58 Chapter 5 North America, Ted Kennedy and Brushes With the Law 73 Chapter 6 ‘The Fields of Athenry’ Found Me 89 Chapter 7 Paddy in the Lands Down Under 111 Chapter 8 The Dubliners Years 126 Chapter 9 Paddy Through the Eyes of Others 142 Chapter 10 Irish Sports Stars Sing Paddy’s Praises 162 Chapter 11 Retirement, Racing, Reminiscing and Beating Cancer 174

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Book SynopsisAt the heart of traditional song rest the concerns of ordinary people. And folk throughout the centuries have found themselves entangled with the law: abiding by it, breaking it, and being caught and punished by it. Who Killed Cock Robin? is an anthology of just such songs compiled by one of Britain's senior judges, Stephen Sedley, and most respected and best-loved folk singers, Martin Carthy. The songs collected here are drawn from manuscripts, broadsides, old songbooks and oral tradition. They are grouped according to the various categories of crime and punishment, from Poaching to The Gallows. Each section contains a historical introduction, and every song is presented with a melody, its lyrics and an illuminating commentary that explores its origins and sources. Together, they present a unique, sometimes comic, often tragic, and always colourful insight into the past, while preserving an important body of song for future generations. 'Who Killed Cock Robin? explores the origins

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Book SynopsisSaddle up and ride into a world of country positivity with this rootin'-tootin' roundup of inspirational quotes and cowboy wisdom that'll have you hollering 'Yeehaw!'Howdy partner! Give yourself a boot-scootin' boost with this little book of country positivity There's plenty of joy, inspiration and wisdom to be found in the land of country and western. Whether from country music legends like Dolly Parton and Johnny Cash, historical figures of the Wild West, iconic gunslingers from Western movies or American cowboys, their advice will have you kicking up your heels and hollering 'Yeehaw!' Country's all about attitude and heart, and this compilation contains all the life lessons you need to lead every day with positivity. Filled with quotes, sayings and cowboy slang, this playful book promises that with every turn of the page you'll be having a honky-tonk time! Inside you will find: - Ad

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Book SynopsisThis beautifully presented coffee table book includes a 50,000 word narrative by Mike Scott telling the full story of the Waterboys seven-piece band and the making of their album Room To Roam. Covering an 18-month period between Spring 1989 to Summer 1990, The Magnificent Seven includes a vast collection of previously unseen photos of the band on the road, recording at Spiddal House in the West of Ireland, as well as maps, lyrics, manuscripts, and other archival memorabilia.Trade ReviewThis is the story of the great seven-piece Waterboys line-up that flourished from the spring of 1989 to the summer of 1990 when three uniquely gifted musicians joined the long-term members and began a journey into music none of us has ever forgotten.

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Book SynopsisEasy Folk AccordionShort easy pieces of traditional music from around the world.Compiled from titles across our popular World Music Series and edited by acclaimed folk musicians Vicki Swan and Jonny Dyer, this book features tunes for solo accordion from the British Isles to the USA, from Eastern Europe to Asia and beyond. Ideal for beginner grades, Easy Folk Accordion is a round-the-world ticket for musical inspiration. The title includes a CD of all tunes recorded by Jonny Dyer.The Easy Folk seriesEasy Folk is an ideal beginner resource for those looking to explore traditional music from around the world. There are volumes for fiddle, flute, recorder, guitar, ukulele and accordion, with all arrangements tailored to each specific instrument and each tune set in the most comfortable key. Difficulty levels have been carefully considered with all tunes lying between UK grades 1 and 3. Piano accompaniments by Jonny are available online, and chord symbols are included to encourage improvise

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Book SynopsisFrench Fiddle TunesRenowned fiddle player and arranger Chris Haigh presents this fantastic survey of French fiddle music, with over 200 pieces exploring the variety of traditional fiddle music found throughout the country.France is perhaps not as famous for fiddle music as Ireland, Scotland or Romania is, but scratch below the surface and you will find a rich tradition packed with unique dance forms, crooked tune structures, unusual and exotic modes, and non-tempered scales.FRENCH FIDDLE TUNES - press reviews:The remarkable Chris Haigh presents 227 traditional tunes from throughout France... Explore the fiddling regions of France in this beautifully presented book with our ''latter-day Bartók'' collector of folk tunes.This fantastic collection also includes live recordings of each piece played by Chris Haigh.Instrumentation:violin

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Book Synopsis(Music Sales America). The "blue book" in this series contains over 100 Irish dance tunes and airs, selected and arranged into sets by Brid Cranitch. This collection contains a varied selection of widely played and lesser-known tunes, divided into different dance rhythms: double jigs, slides, slip jigs, polkas, reels, hornpipes, set dances and airs. In turn, these have been sorted into sets of similar tunes to be played at Irish sessions. The range of the tunes are particularly suitable for the fiddle, but can be used on other instruments. Includes: Silver Spear * Shetland Reel * Rose in the Heather * Fasten the Leg in Her * Cooley''s * Wise Maid * Lucky Penny * Old Pigeon in the Gate * Wind That Shakes the Barley * Kiss Me Kate * No Name * Free and Easy * and many more favorites and rarities. The matching CD features Sheila Garry on fiddle and Brid Cranitch on keyboard.

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Book SynopsisAll Join Hands is the story of what happened when a ten-thousand-year-old musical tradition wasput into the hands of a seventeen-year-old Boston boy in 1947. While in high school, DudleyLaufman apprenticed with fiddlers and callers throughout New England. Eventually, he squiredthe old country dance traditions through to their revival in the 1960s at the Newport FolkFestival, the Club 47, and Robert J. Lurtsema's Morning Pro Musica broadcasts. Decades ofperformances in famous venues and small villages led to his receiving the National HeritageFellowship Award in 2009. As Tom Rush, iconic singer/songwriter says, Tom Curren has done a brilliant job here,weaving an engaging narrative of how Dudley Laufman coordinated and energized the amazingresurgence of an ancient art formthe contradance/square dancein New England andbeyond. All Join Hands calls for a new quickening of spirit, nurtured and energized by thetraditional arts of New England.

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Book SynopsisAfter the success of the first volume, Irish folk music expert Patrick Steinbach presents a further 70 traditional Irish melodies of well-known folk songs and compositions by Turlough OCarolan. The pieces, including polkas, marches, jigs, and reels, are suitable for flute, recorder and tin whistle. The volume includes explanations on style and traditional ornamentation as well as notes on each melody. Each piece has been recorded. The audio files can be downloaded with a voucher code (in the book).Instrumentation:flute (recorder, Tin Whistle)

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Book SynopsisThe songs in this book are a sampling of the urban folk songs of Greece during the first half of the 20th century. They are the creative expression of an urban subculture whose members the Greeks commonly called rebetes. These rebetes were people living a marginal and often underworld existence on the fringes of established society, disoriented and struggling to maintain themselves in the developing industrial ports, despised and persecuted by the rest of society. And it is the hardships and suffering of these people, their fruitless dreams, their current loves and their lost loves that these songs are about, and underlying them all, their jaunty, tough will to survive.The appeal of these songs, often compared to the American blues, is that the conflicts they express are not exclusively Greek conflicts, they are everybody's; and they are still unresolved in urban Greece as in urban Anywhere.Trade Review... [A] world of hash dens, junkies, brothels and songs wherein historical figures like Socrates and Xerxes occasionally make bizarre appear-ances among the trams and hookahs, and death is still called Charos, a corruption of Charon in ancient mythology. -- The AthenianTable of ContentsPreface to the second edition; Foreword; Rebetika; The Music of the Rebetes; The Dances of the Rebetes;Rebetika and Blues; Collection of Song Lyrics; Musical Examples; Glossary of Transliterated Words; Song Index; Contributors

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Book SynopsisThe classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

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Book SynopsisFrom the plaintive tunes of woe sung by exiled kings and queens of Africa to the spirited worksongs and shouts of freedmen, in Sinful Tunes and Spirituals Dena J. Epstein traces the course of early black folk music in all its guises. This classic work is being reissued with a new author's preface on the silver anniversary of its original publication.Trade ReviewWinner of the Simkins Prize of the Southern Historical Association, 1979. "No previous scholar has told more about the manner of diffusion of African music and dance in the New World . . . . No one else has related with more telling effect the impact that Afro-American musical patterns had upon the sensibilities of the white public."--Lawrence W. Levine, Journal of American History"Epstein has uncovered far more about early black music than anyone thought possible. Her luxuriant quotations and definitive treatments of a wide variety of musical subtopics make the book an essential reference volume and a marvelous storehouse of information."--John B. Boles, Journal of Southern History"Sinful Tunes ensures that we will never again be able to sing or listen to a spiritual in quite the same way. We can now see more clearly than ever before what has shaped it; we have been taken nearer the soul of the music."--Hugh Brogan, Times Literary Supplement"[A] definitive, indeed monumental study of black slave music in America."--Guthrie P. Ramsey Jr., Musical QuarterlyTable of ContentsPreface to the 2003 Paperback xiii Preface to the 1977 Edition xvii Prologue: The African Heritage and the Middle Passage 3Part One: Development of Black Folk Music to 1800 19 1. Early Reports of African Music in British and French America 21 La Calinda and the Banza 30 Other African Dancing 38 2. More Black Instruments and Early White Reaction 47 Drums and Other African Instruments 47 The Balafo 55 Legal Restrictions on Instruments 58 3. The Role of Music in Daily Life 63 Funerals 63 Pinkster and Other African Celebrations in the North 66 Worksongs and Other Kinds of African Singing 68 4. The Acculturation of African Music in the New World 77 The Arrival of Africans and Their Music 78 Acculaturation in New Orleans 90 5. Conversion to Christianity 100 6. Acculturated Black Musicians in the Thirteen Colonies 112 The African Jig, a Black-to-White Exchange 120 Part Two: Secular and Sacred Black Folk Music, 1800-1867 125 7. African Survivals 127 Persisting Musical and Cultural Patterns 128 Black Music in New Orleans, 1820-67 132 8. Acculturated Dancing and Associated Instruments 139 Patting Juba 141 Drums, Quills, Banjo, Bones, Triangle, Tambourine 144 Fiddlers 147 Instrumental Combinations 155 9. Worksongs 161 Field Work and Domestic Chores 161 Industrial and Steamboat Workers 164 Boat Songs 166 Corn, Cane, and Other Harvest Songs 172 Singing on the March 176 Street Cries and Field Hollers 181 10. Distinctive Characteristics of Secular Black Folk Music 184 Whistling 184 Improvisation 184 Satire 187 Style of Singing 188 Other Secular Music 189 11. The Religious Background of Sacred Black Folk Music, 1801-67 191 Opposition to Religious Instruction of Slaves 192 Camp Meetings 197 Missions to the Slaves 199 Black Religious Groups 202 Opposition to Secular Music and Dancing 207 12. Distinctive Black Religious Music 217 Spirituals 217 Attempts to Suppress Black Religious Singing 229 The Shout 232 Funerals 234 Part Three: The Emergence of Black Folk Music during the Civil War 239 13. Early Wartime Reports and the First Publication of a Spiritual with Its Music 241 14. The Port Royal Experiment 252 Historical Background 252 Earliest Published Reports 256 Wartime Publication of Song Texts and Music 260 15. Reports of Black Folk Music, 1863-67 274 Criticism of "This Barbaric Music" 274 Recognition of a Distinctive Folk Music 275 The Shout 278 Worksongs 287 Performance Style 290 Introduction of "New" Songs by the Teachers 296 16. Slave Songs of the United States: Its Editors 303 William Francis Allen 304 Charles Pickard Ware 310 Lucy McKim Garrison 314 17. Slave Songs of the United States: Its Publication 321 The Contributors 321 Problems of Notation 326 Assembling the Collection 329 Publication and Reception 331 Conclusion 343 Appendices 349 I. Musical Excerpts from the Manuscript Diaries of William Francis Allen 349 II. Table of Sources for the Banjo, Chronologically Arranged 359 III. Earliest Published Versions of "Go Down, Moses" 363 Bibliography 374 Index 416

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Book SynopsisThe story of the Minneapolis musicians who were unexpectedly summoned to re-record half of the songs on Bob Dylan's most acclaimed album When Bob Dylan recorded Blood on the Tracks in New York in September 1974, it was a great album. But it was not the album now ranked by Rolling Stone as one of the ten best of all time. “When something’s not right, it’s wrong,” as Dylan puts it in “You’re Gonna Make Me Lonesome When You Go”—and something about that original recording led him to a studio in his native Minnesota to re-record five songs, including “Idiot Wind” and “Tangled Up in Blue.” Six Minnesota musicians participated in that two-night recording session at Sound 80, bringing their unique sound to some of Dylan’s best-known songs—only to have their names left off the album and their contribution unacknowledged for more than forty years. This book tells the story of those two nights in Minneapolis, introduces the musicians who gave the album so much of its ultimate form and sound, and describes their decades-long fight for recognition. Blood in the Tracks takes readers behind the scenes with these “mystery” Minnesota musicians: twenty-one-year-old mandolin virtuoso Peter Ostroushko; drummer Bill Berg and bass player Billy Peterson, the house rhythm section at Sound 80; progressive rock keyboardist Gregg Inhofer; guitarist Chris Weber, who owned The Podium guitar shop in Dinkytown; and Kevin Odegard, whose own career as a singer-songwriter had paralleled Dylan’s until he had to take a job as a railroad brakeman to make ends meet. Through in-depth interviews and assiduous research, Paul Metsa and Rick Shefchik trace the twists of fate that brought these musicians together and then set them on different paths in its wake: their musical experiences leading up to the December 1974 recording session, the divergent careers that followed, and the painstaking work required to finally obtain the official credit that they were due. A rare look at the making—or remaking—of an all-time great album, and a long overdue recognition of the musicians who made it happen, Blood in the Tracks brings to life a transformative moment in the history of rock and roll, for the first time in its true context and with its complete cast of players. Trade Review "Beyond the richly detailed account of the Sound 80 sessions, Rick Shefchik and Paul Metsa have crafted a gripping pre-Internet tale of what it took (and still takes) to be a struggling musician. Dylan looms over every page, but for anyone who’s ever given themselves up to a life in music—or loved someone who did—the stories told by the Minnesota Six about gigging, practicing, recording, family life, and all the heartaches and triumphs that come along with the chase are equal parts poignant, romantic, sad, funny, and inspiring. An essential slice of Minnesota music history."—Jim Walsh, songwriter, journalist, and author of Gold Experience: Following Prince in the ’90s "Paul Metsa and Rick Shefchik's biography of a record is like none I've ever read before. The intimate chronicling of the crafting and recording of Blood on the Tracks, from the songs' beginnings in Dylan's spiral notebooks to their shaping in New York and Minnesota, is indeed the life of Bob Dylan's masterpiece. Long may the names of the Minneapolis musicians and Sound 80 staff, some of them garnering a first official credit for their work on the record, be remembered now."—Anne Margaret Daniel, The New School

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Book SynopsisEarly on in their relationship Paul Simon and Art Garfunkel realised two things. Firstly, the world liked them working together. Secondly, they didn't. With exclusive interviews with fellow musicians, promoters and those who knew him, and with much unique material, this will be the definitive account of Simon and Garfunkel and their careers.

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Book SynopsisAuthor Magdalena Waligorska offers not only a documentation of the klezmer revival in two of its European headquarters (Kraków and Berlin), but also an analysis of the Jewish / non-Jewish encounter it generates.Trade ReviewThe book is highly enriching, presenting an inspiring methodology, sophisticated analysis, and a clear and justified conclusion. It offers a significant contribution to ethnography, anthropology, culture studies, Jewish studies, and more. * Marina Ritzarev, Slavic and East European Journal *This book is exceptionally readable considering the complexity of the heavily nuanced subject area ... This book is a good read not only for social science scholars ... but also anyone interested in cultural history. * Philip Palmer *Table of ContentsAcknowledgements ; Introduction ; 1 Klezmer Music and Its Traditions in Krakow and Berlin ; 2 Appropriated Music ; 3 Meeting the Other, Eating the Other: Klezmer as a Contact Zone ; 4 The Grammars of Vernacular Klezmer ; 5 Klezmer and the Politics of Remembering ; 6 People In-Between ; 7 Triangles of Relief. Klezmer and the Negotiation of Identities ; Conclusion ; Bibliography ; List of Interviews ; Index

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Book SynopsisThis study explores the nature of musical competence. Using the collaborative structure of gamelan - Javanese ensemble music - as a point of departure, this work lays the foundation for a comprehensive theory of musical competence and interaction.Table of ContentsList of Illustrations Acknowledgments Technical Notes A Sketch of Central Javanese Gamelan Introduction Prelude. Two Performances 1: Modeling Musical Competence 2: Javanese Musical Competence 3: Individual Competences 4: Who Knows What? 5: Acquiring Competence 6: My Experience Is My Teacher: The Acquisition of Javanese Musical Competence 7: Toward a Theory of Musical Interaction 8: Musical Interaction in Javanese Gamelan 9: Interaction in Javanese Multimedia Productions 10: Individuals Making Music Together 11: Musical Competence and Interaction Appendix Glossary Bibliography Discography Index

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Book SynopsisIn 1948, at the age of 15, Manu Dibango left Africa for France, bearing three kilos of coffee for his adopted family and little else. This autobiography chronicles his life, from his birth in Cameroon to his achievements as a composer, producer, performer, film-score writer and humanitarian.

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Book SynopsisThis work introduces the reader to Sardinian music through a series of encounters with individual musicians and their families. The vignettes presented portray an art still very much alive: the music of villages with an oral tradition, sung or played in the company of others.

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Book SynopsisA star par excellence, Dolly Parton is one of country music's most likable personalities. Even a hard-rocking punk or orchestral aesthete can't help cracking a smile or singing along with songs like Jolene and 9 to 5. More than a mere singer or actress, Parton is a true cultural phenomenon, immediately recognizable and beloved for her talent, tinkling laugh, and steel magnolia spirit. She is also the only female star to have her own themed amusement park: Dollywood in Pigeon Forge, Tennessee. Every year thousands of fans flock to Dollywood to celebrate the icon, and Helen Morales is one of those fans. In Pilgrimage to Dollywood, Morales sets out to discover Parton's Tennessee. Her travels begin at the top celebrity pilgrimage site of Elvis Presley's Graceland, then take her to Loretta Lynn's ranch in Hurricane Mills; the Country Music Hall of Fame and the Grand Ole Opry in Nashville; to Sevierville, Gatlinburg, and the Great Smoky Mountains National Park; and finally to Pigeon ForgeTrade Review“Morales has made a moving, provocative pilgrimage through the complex culture—mainly southern—that produces country music and some of its outsized performers. I found her very readable.” -- Larry McMurtry, author of Lonesome Dove“Part quirky travelogue, part study of celebrity culture, part autobiography, Pilgrimage to Dollywood is a witty and self-aware account of being transplanted into an alien culture and deciding to revel in its (and one’s own) otherness.” * Times Higher Education *“The heart of the book is Morales’s personal meditation on the Dollywood shrine itself, the theme park for feminism, Christianity, and the Old South, its mythical log-cabin home, its worshippers at the Dolly Dollar cash-tills, and the reputation of the whole (deserved or not: discuss) as ‘the redneck Disneyland.’ This is cultural criticism on holiday . . . frank, self-revelatory, comic and clever, revealing greater identification with the heroine than her day job traditionally allows.” * Times Literary Supplement *“’This is not a book written from the Olympic heights of an objective observer,’ writes Morales in the introduction to her funny, engaging and erudite book. ‘I confess up front that I love Dolly Parton and her music.’” * Times (UK) *“It’ll make you want to experience your own pilgrimage, with the windows down and ‘Jolene’ blaring.” * Bust *Table of Contents1 Caviar and Fish Sticks 2 A Series of Cravings Graceland and Other Shrines, Memphis 3 Country Is as Country Does Loretta Lynn’s Ranch, Hurricane Mills 4 Music City, USA Nashville 5 Tennessee Mountain Homes Pigeon Forge, Gatlinburg, Sevierville, and Locust Ridge 6 Color Me America Dixie Stampede, Pigeon Forge 7 Sifting Specks of Gold Dollywood Amusement Park, the Great Smoky Mountains Doing the Pilgrimage Further Reading Acknowledgments

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Book Synopsis'Until Hank Williams came along, it was just Bob Willis,' says Willie Nelson. 'He wasit.' And indeed he was, especially for the thousands in the Southwest who knew and loved the King of Western Swing. The colorful band leader-composer-fiddler from Turkey, Texas, lassoed the emotions of country-and-western fans nationwide. In the early 1940s, his records outsold those of any other recording artist. He was voted not only into the Country Music Hall of Fame but also into the National Cowboy Hall of Fame, the only performer other than Gene Autry to be so honored.Affectionately written by a Texan who responded to the legendary fiddler''s style,San Antonio Rosecaptures Wills''s magnetism and the musical excitement he created. Charles R. Townsend traces Wills''s dynamic life from his birth into a family of frontier fiddlers through his career and stardom and on to the poignant last recording session in 1973 and his death two years later. Townsend shows how Wills broughTrade Review"One can only stand in awe at the kind of work that went into Townsend's book. . . . San Antonio Rose must be recognized as a major advance in the study of American music. It is a masterpiece of layout and design, rich with photos and well-done illustrations, [and] should be in the library of anyone interested in American music."--Charles Wolfe, Journal of Country Music"A warm and honest portrait of the man who brought the music of 'country folks' to town, who merged the spontaneity of country fiddling with the Big Band Sound, giving birth to Western Swing."--Louis Sahagun, Los Angeles Times Book Review"A landmark in country music scholarship."--Michael Mendelson, Western FolkloreTable of ContentsPreface xi 1. Cotton Fields and Cotton Camps 1 2. Down between the Rivers 16 3. "I Slurred My Fiddle . . .to Play the Blues" 36 4. Frontier Folk Music Moves to Town 44 5. Western Jazz 53 6. Light Crust Doughboys and Texas Playboys 68 7. The Spread of Western Jazz 88 8. Music out of a Straitjacket 98 9. "You Hired Bob Wills, Didn't You?" 112 10. Here Comes de Judge 121 11. "The Ballad of 'Seabiscuit' McAuliffe" 132 12. The Glory Years and the most Versatile Band in America 143 13. Faded Loves 156 14. "San Antonio Rose," Western Swing, and Some of the Finest Jazzmen You've Ever Heard 190 15. The Silver Screen and Music on the West Coast 206 16. That Certain Woman: Betty and the Summer of '42 215 17. "This Is the Army, Mr. Wills" 225 18. "Take Me Back to Tulsa" 235 19. Just Lookin' for a Home 261 20. "His Body Wore Out before His Desire" 277 21. Country Music Hall of Fame 283 22. More Tributes to a Pioneer Musician 295 23. A Product of the Jazz Age 310 24. Twilight Falls 316 Essay on Sources 325 The Bob Wills Recordings: A Comprehensive Discography Bob Pinson 337 A Preliminary Bob Wills Filmusicography Bob Pinson 375 Index 377

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Book SynopsisThe artist’s impact on country music and how his death changed the genre A beloved member of the country music community, David “Stringbean” Akeman found nationwide fame as a cast member of Hee Haw. The 1973 murder of Stringbean and his wife forever changed Nashville’s sense of itself. Millions of others mourned not only the slain couple but the passing of the way of life that country music had long represented. Taylor Hagood merges the story of Stringbean’s life with an account of murder and courtroom drama. Mentored by Uncle Dave Macon and Bill Monroe, Stringbean was a bridge to country’s early days. His instrumental savvy and old-time singing style drew upon a deep love for traditional country music that, along with his humor and humanity, won him the reverence of younger artists and made his violent death all the more shocking. Hagood delves into the unexpected questions and uneasy resolutions raised by the atmosphere of Trade Review"The story about the life of the man and the details of his life's tragic end is expertly covered in this new book. . . . After reading this book, I feel as though I got to know David "Stringbean" Akeman and his story very well. Highly recommended!" --Dan Miller, Bluegrass Unlimited“Stringbean was one of the very first friends Doolittle, my husband, and I made when we first came to Nashville in 1960. He and his wife Estelle were some of the nicest folks you could find anywhere. . . . It was heartbreaking when we lost him and his wife.”--Loretta Lynn“Stringbean and Estelle would be like your favorite aunt and uncle, or your favorite cousin. Any time we had a celebration, they were always there, and most of the time cooked for everybody. Those were precious times.”--Lulu Roman, Hee Haw star"This tale will appeal to readers curious about the formative years of the United States' country-music scene." --Library Journal"Get your orders in! You will like this book. Thanks, Taylor Hagood, for filling in so many blanks, even those you filled in from your remote closeness to the gentle and genuine spirit of Stringbean. Stringbean is still a vital part of our music. Stringbean shows us that." --Bluegrass Standard"Stringbean: The Life and Murder of a Country Legend by Talyor Hagood, not only serves to remind and establish Stringbean’s often overlooked musical legacy, but also serves as a true crime thriller with a highly detailed account of the murder and ensuing trial. Hagood expertly details Stringbean’s long career and gives new meaning to both him and his music." --Americana UK"Hagood, who writes with an appealingly loose and earnest style, has genuine affection for Stringbean. Perhaps the most moving passages are those in which Hagood reflects on the symbiotic relationship between the man and his trusty Vega No. 9 Tubaphone banjo. " --NewCity "Almost as soon as I picked up Taylor Hagood's biography of David Akeman, I knew I could put aside my instinct to find fault in order to luxuriate in a well-documented, carefully constructed combination of biography and true crime story. . . . I highly recommend this well-researched and highly readable book." --Ted Lehmann “It was always a rare treat to get to see the hat flipping, banjo picking man from ole Kentucky on the television or old video tape. Stringbean was one of my first musical heroes as a kid while learning to play the banjo. I'm very excited to get this book! I can never get enough of Ole String! Thank you, Taylor!”--Leroy Troy, Grand Ole Opry star and 1996 National Old-Time Banjo Champion "Taylor Hagood is a gifted writer, and I'm truly pleased with the book he wrote about my uncle, David Akemon."--Phillip AkemonTable of ContentsA Note on Names Prologue. Short Life and Trouble: November 11, 1973 Chapter 1. Way Back in the Hills of Old Kentucky: 1915-1935 Chapter 2. Stringbean and His Banjo: 1935-1942 Chapter 3. Goin’ to the Grand Ole Opry to Make Myself a Name: 1942-1945 Chapter 4. Big Ball in Nashville: 1945-1952 Chapter 5. Herdin’ Cattle in a Cadillac Coupe de Ville: 1953-1959 Chapter 6. Pretty Polly: 1960-1965 Chapter 7. Me and My Old Crow (Got a Good Thing Going): 1966-1973 Interlude. Goodbye Sweet Thing: Stringbean’s Final Day of Life, November 10, 1973 Chapter 8. Sinner Man, Where You Gonna Hide: November 1973, January 1974 Chapter 9. You Can’t Do Wrong and Get By: January, November 1974 Epilogue. Forgetting to Forget You: 1975-2014 Acknowledgments Notes Selected Bibliography Index

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Book SynopsisHomegrown Music offers an introductory primer for newcomers to bluegrass and provides a novel perspective for fans already captivated by the music. Award-winning bluegrass writer Stephanie P. Ledgin writes about topics ranging from the music''s predecessors to its innovators to contemporary figures. Interviews with legends like Earl Scruggs, Ralph Stanley, and Nitty Gritty Dirt Band provide candid insights and invaluable eyewitness history. Delving into instrumentation, songs, the festival experience, 'parking lot picking,' and other topics, the book gives neophytes and enthusiasts alike new perspectives on the music. Twenty-five photographs taken by the author and a foreword by bluegrass superstar Ricky Skaggs further enrich the guide while a special section features an extensive bluegrass resource guide to print, audiovisual, and Internet materials.Trade ReviewWinner of the 2007 Charlie Lamb Award for Excellence in Country Music Journalism in the Career category. "Every library should own a copy."--Library Journal, starred review"The perfect introduction for those interested in knowing more about bluegrass and a needed addition to the canon of bluegrass scholarship."--Bluegrass Unlimited

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Book SynopsisStorytime in India is an exploration of the stories that come out of ethnographic fieldwork. Helen Priscilla Myers and Umesh Chandra Pandey examine the ways in which their research collecting Bhojpuri wedding songs became interwoven with the stories of their lives, their work together, and their shared experience reading The Eustace Diamonds by Anthony Trollope.Table of ContentsAcknowledgmentsList of Songs and Accessing the Audio FilesPrologueIntroduction: Umesh Explains Storytime1. A Fulbright Grant to Banaras, India2. ToastInterlude I: Lizzy Greystock3. Setting Up Our Apartment in Banaras, 20074. The Daily RoutineInterlude II: Sir Florian5. Arranging an Indian Wedding 6. The Search for a Boy 7. Helen and Umesh Meet8. Viewing the Bride9. The Tilak Talk Begins10. Gangajali11. The Tilak, Explained by Umesh12. Song Journey13. Tilak Songs14. "Dress Him in a Bra and Bodice": Gali for the Tilak15. The Songs Become Personal16. "We Sell Dreams"17. Saguni Songs: "This night is ours"Interlude III: Lady Eustace18. Umesh Remembers Charlotte Wiser19. Matikor: Sashi Interrupts, but We Do Not Hear "A Mare Has Pissed"20. Helen's Pounding Pot21. Umesh Explains GaliInterlude IV. Lucy Morris 22. The Kalas and the Harish23. Arranging a Priest24. Wedding Expenses25. The Island Diaspora: My Introduction to Indian Culture from Far AwayInterlude V: Frank Greystock26. Grannie Music27. Ethnomusicology28. The Turmeric Is PleasingInterlude VI: The Eustace Necklace29. Heat 30. Kissing31. The Bride and Groom go to the Kohabar32. Sahana Songs before the Wedding Ritual: The Blue Blue Horse33. Umesh Tells the Krishna StoryInterlude VII: Lady Linlithgow's Mission, , The Sawab of Mygawb34. And Love35. Kabir36. Great Novels and Lesser Novels37. Trapping the Family Gods Interlude VIII: Mr. Burke's Speeches38. Helen Contracts Typhoid39. Getting the Siri at the Home of the Potter40. My Husband Is the Inspector of PoliceInterlude IX: The Conquering Hero Comes41. The Evil Eye42. Umesh Gets Malaria43. On the Stage, the Bridegroom Puts on His Garments44. Preparing for Winter45. Adorn the Elephant, Adorn the Horse46. The Jaluaa47. The Story of Krishna and the Crocodile: A Song with Many Many Stories48. Umesh Tells the Remainder of the Krishna Story49. More Jaluaa Songs and StoriesInterlude X: Showing What the Miss Fawns Said, and What Mrs. Hittaway Thought50. Charlotte Wiser Leaves Karimganj51. Wedding Night52. Mona's Nacchu Nahawan in Rasalpur53. Protecting the Bride from the Evil EyeInterlude XI: Lizzie and Her Lover54. Arrival at the Janmassa55. Gali for Barati People and Bridegroom56. What about Clothes and Ornaments57. Bhajan InterludeInterlude XII: Lord Fawn at His Office58. Umesh Recalls His Wedding59. Feeding the Wedding Party60. Dwar Puja—The New System61. The Animal Party62. Departure of the Barat Interlude XIII: I Only Thought of It63. The Bridegroom Enters the Courtyard64. The Bride Enters the Courtyard65. Donation of the Virgin Daughter66. Ceremony of the Puffed Rice67. The Sindur Ritual68. The Kohabar Ritual69. Ceremony at the GangesInterlude XIV: Showing What Frank Greystock Did70. Arrival of the Bride in her Sasural, the Gauna71. Love Marriages72. Five Days73. Just One More Song74. Gangajali's StoryInterlude XV: "Doan't Thou Marry for Munny"75. One Last SongInterlude XVI: I'll Give You a Hundred Guinea Broach76. Preparing for China77. Leaving Banaras in 200878. Conclusion Interlude XVII: The Eustace Diamonds79. Umesh Tells a Story from Karimganj 80. A Passage to India81. Bangles in Ballia82. Across the Seven Seas83. Umesh Arranges for the Swan's Quill84. The Religion of Humanity85. StorytimeAppendix: Rituals of the Hindu Wedding in BalliaGlossaryBibliographyIndex

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Book SynopsisAn unorthodox musician from the start, singer-songwriter Joni Mitchell''s style of composing, performing, and of playing (and tuning) the guitar is unique. In the framework of sexual difference and the gendered discourses of rock this immediately begs the questions: are Mitchell''s songs specifically feminine and, if so, to what extent and why?Anne Karppinen addresses this question focusing on the kind of music and lyrics Mitchell writes, the representation of men and women in her lyrics, how her style changes and evolves over time, and how cultural context affects her writing. Linked to this are the concepts of subjectivity and authorship: when a singer-songwriter sings a song in the first person, about whom are they actually singing? Mitchell offers a fascinating study, for the songs she writes and sings are intricately woven from the strands of her own life. Using methods from critical discourse analysis, this book examines recorded performances of songs from MitcheTable of ContentsIntroduction Part 11. Sexual Difference, Texts and Discourses 2. Will you take me as I am? Subjectivity, Autobiography and Authorship3. Women in Rock and Other OxymoronsPart 24. The Early Period (1968-1970)5. The Self-Conscious Period (1971-1974)6. The Socially Conscious Period (1975-1977)Part 37. A Soprano Has No Credibility? Joni Mitchell and the Rock Press 8. The Singer-Songwriter and the Making of the Canon Conclusion Appendix: Tunings.BibliographyIndex

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Book SynopsisOne of the first and finest studies of African American folk music, this thorough, well-researched volume offers a perceptive history and analysis of spirituals, ballads, blues, jazz, and other genres.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThe Incredible Story of a Country Music Legend. Few artists have left a more indelible mark on America's musical landscape than Charlie Daniels.

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Book Synopsis''Shirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived'' Stewart Lee''Without doubt one of England''s greatest cultural treasures'' Billy BraggIn America Over the Water, celebrated English folksinger Shirley Collins offers an affecting account of her year-long stint as assistant to legendary musical historian and folklorist Alan Lomax. Together, they travelled to Virginia, Kentucky, Alabama, Mississippi, Arkansas and Georgia, discovering Mississippi Fred McDowell and many others, in their tireless work to uncover the traditional music of America''s heartland. Blending the personal story of Shirley Collins'' relationship with Lomax and offering a unique first-hand account of a country on the brink of the civil rights era, America Over the Water cuts right to the heart of the blues in a fascinating account of Collins'' and Lomax''s ground-breaking journey across the southern staTrade ReviewShirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived, and yet utterly humble -- Stewart LeeWithout doubt one of England's greatest cultural treasures -- Billy Bragg

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Book SynopsisWomen built the popular song industry of Tin Pan Alley, yet many of their stories have seldom been told. They blazed the trail for women in music today and set an inspiring example for generations to come.Songs She Wrote celebrates women's contributions to popular music by looking at dozens of well-known figures like Billie Holiday, Peggy Lee, and Dorothy Parker as well as unearthing more unknown women who made major contributions. The book explores the style and artistry of female songwriters, lyricists, and composers in the first half of the twentieth century and provides intriguing backstories and analysis of forty hits. Learn about Maria Grever (What a Difference a Day Made) who was the first female Mexican to achieve international acclaim and the fascinating story of African American lyricist Lucy Fletcher (Sugar Blues), among many others in this book.Women in the popular music business went through struggles different from their male colleagues, making their triumphs all the more impressive. These individual and diverse sagas combine to convey an epic about women songwriters in the world of American popular music.

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Book SynopsisThe full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable.Each title in the series is available in two formats: the violin edition (with an optional easy violin part and guitar chords); or the complete edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means the music can be played as solos, duets or trios as well as with larger ensembles.Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.Instrumentation:violin (2 violins) and piano, guitar ad libitum

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Book SynopsisThe classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

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Book SynopsisTrade Review"[A] moving and frequently comical memoir."--The Tennessean"Co-author Ellen Wright has skillfully assembled and corroborated Stoneman's narratives. . . . Stoneman's story is crammed with her personality, full of funny anecdotes about her family and other performers with whom she worked, all wrapped in her hillborn cussedness."--No Depression"It is a gripping and well-told tale, and Stoneman's can-do spirit, which helped her rise above daunting personal and professional challenges, should inspire all readers."--Library Journal"[An] engrossing narrative [that retains] all of Roni's personality, humor, and compassion. Roni conveys emotion powerfully, and there were some parts of the book that were so painfully sad I had to stop reading. But I couldn't stay away long, wanting to get back to the parts where she made me laugh out loud."--Bluegrass Unlimited"[For country music fans] it's another eye-opener. Praise goes to [Stoneman and Wright] for their excellent input on this latest volume in the University of Illinois Press series Music in American Life."--Nashville Musician“Pressing On is an Appalachian Angela’s Ashes told from a female perspective. It tells the story of Roni Stoneman’s private and public life with remarkable and appealing candor. It is a book full of unfolding revelations, told with a sense of humor, and without an ounce of self-pity. Her story is entertaining at times, heartbreaking at others, but always compelling.”--Sandy L. Ballard, editor of Appalachian Journal“This is a unique book: the authentic story, in her own voice, of a woman who was once one of America’s most widely known entertainers. There will never be another Roni Stoneman, and there will never be another book like this one.”--Elinor Langer, author of Josephine Herbst"We already knew Roni as a first-rate banjo player and comic. This book reveals her as a sharp, observant, thinking woman, and a captivating storyteller."--Murphy Henry, banjo player and columnist for Banjo Newsletter and Bluegrass Unlimited "Told in a no-holds-barred, earthy style, Pressing On is a remarkable read."--Country Music People "Ellen Wright lets Stoneman's raw voice and warm personality come through in every paragraph of the kaleidoscope, and the result is a memorable journey through back stages and bars, recording studios, bedrooms and TV soundstages, from the Appalachian mountains to Alaska and back, from joy to grief and back."--Blue Ridge Country

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Book Synopsis2022 Belmont Award for the Best Book on Country Music, International Country Music Conference/Belmont UniversityNew and expanded biography of one of country music's most celebrated singer-songwriters.Merle Haggard enjoyed numerous artistic and professional triumphs, including more than a hundred country hits (thirty-eight at number one), dozens of studio and live album releases, upwards of ten thousand concerts, induction into the Country Music Hall of Fame, and songs covered by artists as diverse as Lynryd Skynyrd, Elvis Costello, Tammy Wynette, Bobby Blue Bland, Willie Nelson, the Grateful Dead, and Bob Dylan.In The Running Kind, a new edition that expands on his earlier analysis and covers Haggard''s death and afterlife as an icon of both old-school and modern country music, David Cantwell takes us on a revelatory journey through Haggard's music and the life and times out of which it came. Covering the breadth of his career, Cantwell focuses especTrade ReviewCantwell captures why Haggard's best-known songs still matter while never shying away from honest critiques of weaker selections that never made it into the classic country canon. Ultimately, this warts-and-all look at a half-century-spanning back catalog gives its subject his due. * Wide Open Country *Sharp-eyed and sharp-eared insight...abounds in [Cantwell's] book...The Running Kind paints Merle Haggard in a broad and nuanced American cultural landscape, rather than the tight corners that Nixon, the counterculture, country fans, and Haggard himself frequently painted him into. * New York Journal of Books *If you want to read the definitive book on Merle Haggard, this is the one...The beauty of Cantwell’s book lies in his in-depth, astute, and entertaining close readings of Hag’s songs and the covers of those songs by others, from Dylan to Bobby 'Blue' Bland. * No Depression *A remarkable book by one of Merle's most astute scholars. * Lawyers, Guns & Money *In essays on the songs, eras and influences that shaped Haggard’s life and legacy, Cantwell makes a case for Haggard's genius not by leaving out the contradictions that are evident in his work, but by shining a light on them. * Holler *Table of ContentsIntroduction. “Silver Wings”: Kansas City, Missouri, September 14, 2001 1. “Hungry Eyes,” 1969 2. The Roots of His Raising 3. “Mama Tried,” 1968 4. Toward the Bad He Kept on Turnin’ 5. He Loves Them So: A Playlist of Early Influences 6. “Leonard,” 1981 7. The Bakersfield Sound and Fury 8. Someone Told His Story in a Song 9. “I Started Loving You Again,” 1968 10. The Legend of Bonnie and Him 11. “Sing Me Back Home,” 1967 12. They Won’t Let His Secret Go Untold 13. He’s Living in the Good Old Days: Countrypolitan, Country Soul, Country Rock 14. “Workin’ Man Blues,” 1969 15. He Likes Living Right and Being Free 16. “Irma Jackson,” 1969 17. His Fightin’ Side 18. He’d Rather Be Gone 19. “It’s Not Love (But It’s Not Bad),” 1972 20. He Wishes He Was Santa Claus 21. Merle Loves Dolly 22. Songs He’ll Always Sing 23. He Takes a Lot of Pride in What He Is (Hint: He’s a White Boy) 24. “A Working Man Can’t Get Nowhere Today,” 1977 25. His Country Girl with Hot Pants On 26. He’s Always on a Mountain When He Falls 27. “Rainbow Stew,” 1981 28. He Wishes a Buck Was Still Silver (Not Really) and Likes the Taste of Yesterday’s Wine (Really) 29. “Kern River,” 1985 30. He’s Going Where the Lonely Go 31. “Me and Crippled Soldiers,” 1990 32. The Hag versus the Man in Black 33. He’ll Never Be Gone? Merle Haggard in the Twenty-First Century 34. “If I Could Only Fly,” 2001 Epilogue. Cuba, Missouri: July 15, 2010 Acknowledgments Selected Discography Selected Bibliography Index

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Book Synopsis(Woodwind Solo). Irish Folk Tunes for Flute presents 71 superb Irish traditional tunes, including jigs, reels, polkas, hornpipes, slow airs, and pieces by Carolan and are suitable for flute, recorder or tin whistle. Experienced folk musician Patrick Steinbach provides an excellent introduction explaining style and traditional ornamentation as well as notes on each of the tunes. The edition also contains recordings of all the tunes for free download.

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Book SynopsisBold and original, The Power of Black Music offers a new way of listening to the music of black America, and appreciating its profound contribution to all American music.Trade Review"Diligently traces the history of Black music--its African influences and evolution."--Emerge "Dares to take on the whole span of black musical history."--Chicago Tribune "Important...An exceptionally erudite and thoroughly readable work."--I.S.A.M. Newsletter "Impressive."--Booklist "[I]t brilliantly illuminates the centuries-old linkage between the music, myths, and rituals of Africa and the continuing evolution and enduring vitality of African-American music....Floyd clearly shows that black folk culture remains a driving force in the black music of America, a force with the power to enrich cultures the world over."--Black Media News "Samuel A. Floyd Jr...illuminates the connections between the music, myths, and rituals of Africa and the continuing evolution of African-American music."--The Washington Post Book World "A classic study inspired by pioneering monographs, it advocates a fresh critical account founded in the forms and traditions of the music itself."--Come-All-Ye of Legacy Books "Floyd's theories give him a solid basis by which to make judgments about black music, and also to describe that music."--Fanfare "In this singularly focused and highly articulate study, [Floyd] is attempting to place in proper perspective the true foundation of all forms of African-American music, a complex of several related core-culture practices generally ignored in previous histories. His work can only be judged fairly by its adherence to his intentions, and on that score he succeeds beyond measure."--The Mississippi Rag "A deeply personal and passionate book that dares to take on the whole span of black musical history, from ancient Africa to modern America....Striking....Bold....Never before has a black musical history drawn such sweeping links between centuries past and present, and Floyd is one of the few writers with the scholarly techniques, the musical training and the personal passion to make them persuasive."--The Chicago Tribune "An important contribution to scholarship on African-American music....By examining the ways in which a concern with the vernacular was reflected in diverse forms of African-American musical expression, from classical compositions to gospel music and blues, Floyd offers fresh readings of creative cultural production in its broadest reaches during the period....Floyd deploys his sophisticated theoretical framework in fruitful ways....The range of this book...is impressive....Floyd makes deft use of the tools of critical theory, yet his lucid writing style avoids the dense jargon often associated with this approach. As a result, The Power of Black Music is an exceptionally erudite and thoroughly readable work."--I.S.A.M. Newsletter "Floyd...diligently traces the history of Black music in America (the jazz of New Orleans funeral parades, blues, bebop, 1960s concert hall composers, rock)--its African influences and evolution."--Emerge "Floyd's work shows an uncanny coordination of ear, heart, and intellect. The author brings his subject into the realm of ideas while manifesting a love for the music and respect for the people who have made it. His grasp of the continuity of ring-shout values, and of what it means to Signify musically, uncovers and explains the vital core of African-American music making more convincingly than any other account I have read."--Richard Crawford, Professor of Music, University of Michigan "The most scholarly and imaginative exploration yet of the origins and development of black music....An invaluable contribution."--Sterling Stuckey, Professor of History and Religious Studies, University of California, Riverside "African American music deserves but seldom gets as much attention from academics as from music critics. Floyd takes a rare scholarly approach to it and sets a standard for subsequent studies. The range of genres he discusses is comprehensive...and the connections he makes are particularly perceptive....Academics, critics, scholars, and fans alike stand to gain much from carefully reading this impressive work."--Booklist "Offers a new way of listening to the music of Black America and appreciating its profound contribution to all American music."--National Black Employment Directory "Scholarly but never stuffy...a lively historical overview of all styles of African-American music....Contributing mightily to the book's excitement is Floyd's willingness to interpret music through folklore, literary criticism and soulful personal memories."--Pulse (Tower Records publication) "A sweeping, selective overview of black music in the US, beginning with the role of music in African society."--ChoiceTable of ContentsIntroduction 1: African Music, Religion, and Narrative 2: Transformations 3: Syncretization and Synthesis: Folk and Written Traditions 4: African-American Modernism, Signifyin(g), and Black Music 5: The Negro Renaissance: Harlem and Chicago Flowerings 6: Transitions: Function and Difference in Myth and Ritual 7: Continuity and Discontinuity: The Fifties 8: The Sixties and After 9: Troping the Blues: From Spirituals to the COncert Hall 10: The Object of Call-Response: The Signifyin(g) Symbol 11: Implications and Conclusions Appendix

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Book SynopsisLeonard Cohen's entire, fascinating story, featuring details of his brand new material and interviews with key Cohen associates.

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Book SynopsisIn 1978, four musicians crowded into a cramped basement theater in downtown Seoul, where they, for the first time, brought the rural percussive art of p'ungmul to a burgeoning urban audience. This title traces this reinvention through the rise of the Korean supergroup.

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