Traditional and folk music Books

Book SynopsisThe life and music of a bluegrass pioneer, in his own wordsTrade ReviewCertificate of Merit for Excellence for Best Research in Recorded Country Music, Association for Recorded Sound Collections (ARSC) Awards, 2013. Fred Bartenstein (editor), Bluegrass/Media Person of the Year, International Bluegrass Music Awards (IBMA), 2013. "Mesmerizing . . . especially for lovers of bluegrass."--Booklist "One comes away from this interesting read with a keen understanding of a man who influenced country music, dobro playing in particular, in a way few have. Recommended."--Choice "A fascinating look at the musical culture of the South. . . . Thoroughly Southern, spicy, real, and lots of fun." --Library Journal "The legendary musician provides interesting insight into the ways of his long-time boss, Earl Scruggs." --MountainTimes.com "Graves's name won't ring a bell for many outside musicians' circles, but Burkett "Uncle Josh" Graves helped take bluegrass from southern Appalachia to college campuses and beyond, to the world-music status it enjoys today. . . . Bluegrass Bluesman is unfiltered, off-the-cuff oral history."--The Wall Street Journal"In this welcome memoir, Graves proves himself a born storyteller. . . . Rarely is a guitarist's memoir such a rich read."--Vintage Guitar"Josh Graves inspired hundreds of musicians to pick up the steel bar and slide it over the strings of the Dobro. . . . It's good and fitting that the story of this talented and influential musician is being preserved in his own words." --from Neil Rosenberg's foreword to the book "Because Graves tells his own story in his own voice, readers do truly get a sense for whom Josh Graves was and what he and his dobro contributed to Bluegrass music." --Winchester Sun"Yet another must-read book from the University of Illinois Press."--Bluegrass Unlimited "An excellent autobiography of a highly creative musician. Graves was a first-rate storyteller with a discerning sense of what was important in his many memorable experiences." --John Wright, author of Traveling the High Way Home: Ralph Stanley and the World of Traditional Bluegrass Music"Fred Bartenstein has done a beautiful job in covering the career of one of the great figures in bluegrass. . . . A hard book to put down." --County Sales Newsletter

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Book Synopsis In recent years, there has been an upsurge in interest in 'roots music' and 'world music,' popular forms that fuse contemporary sounds with traditional vernacular styles. In the 1950s and 1960s, the music industry characterized similar sounds simply as 'folk music.' Focusing on such music since the 1950s, The Never-Ending Revival: Rounder Records and the Folk Alliance analyzes the intrinsic contradictions of a commercialized folk culture. Both Rounder Records and the North American Folk Music and Dance Alliance have sought to make folk music widely available, while simultaneously respecting its defining traditions and unique community atmosphere. By tracing the histories of these organizations, Michael F. Scully examines the ongoing controversy surrounding the profitability of folk music. He explores the lively debates about the difficulty of making commercially accessible music, honoring tradition, and remaining artistically relevant, all without 'selling out.' InTrade Review "Thoughtful and insightful book. . . . Scully's important exploration of the folk music revival ... will only gain in significance as the opportunities for the transmission of folk music increase."--ARSC Journal "For those of us with a fondness for Rounder and all the offbeat music it has brought us throughout the years, this book . . . is a must-have."--Sing Out! “Scully explores many facets of the folk music revival. . . . Well written, well researched.”--Bluegrass Unlimited"With care and grace, Scully details the power struggles, the hirings and resignations, the handwringing and public denunciations that characterize any organization that tries to blend notions of cultural purity with commercial ambitions."--American Studies"A keenly insightful study."--Western Folklore"A clear, intelligent, insightful, and open-minded look into the world of folk music. This well-researched book details the conflicts inherent in a hard-to-define musical genre."--Tommy Erdelyi (Tommy Ramone)"Scully covers new territory in exploring the recent history of folk music in the United States by focusing on Rounder Records and the North American Folk Music and Dance Alliance. This book is essential for anyone interested in recent developments in folk music and its role in the aftermath of the folk revival of the 1960s."--Ronald D. Cohen, author of Folk Music: The Basics"This well-researched book fills an important gap in the chronicle of the folk revival. Particularly impressive is Scully's recapitulation of the painful debates about Rounder's commercial survival and the nature of folklore and folk song."--Ed Cray, author of Ramblin' Man: The Life and Times of Woody GuthrieTable of ContentsContents Acknowledgements / ix Introduction: Where Have All the Folkies Gone? / 1 1. Folklore, Fakelore, and Poplore: From the Creation of the Folk to the Great Boom and Beyond / 21 2. From Club 47 to Union Grove: The Birth of Rounder Records / 58 3. Surrealistic Banjos and Zydeco Rhythms: Rounder's Broad Aesthetic / 88 4. Toward an Authenticity of Self: Old-Time Music in the Modern World / 114 5. Like Politics in Chicago: The Folk Alliance Strives for Unity / 133 6. Consolidation Blues: Folk Music in Contemporary Markets / 167 Conclusion: Gone to the Internet, Everyone / 211 Notes / 219 Note on Citations / 243 Index / 247 Illustrations follow page 20.

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Book SynopsisTrade ReviewExtremely stimulating. Clifton's early life, interests, and talents led him into many dramatic situations, which are masterfully described in Malone's biography. Bill Clifton made a wise choice in tapping Malone as his biographer.--Fred Bartenstein, editor of Bluegrass Bluesman: A MemoirA marvelous and wide-ranging biography of Bill Clifton by Bill Malone, the acknowledged dean of country music historians. Malone has added rich detail to our understanding of Clifton's musical context, particularly in bluegrass.--Ronald D. Cohen, co-author of Roots of the Revival: American and British Folk Music in the 1950s

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Book SynopsisAs charismatic and gifted as he was volatile, Jimmy Martin recorded dozens of bluegrass classics and co-invented the high lonesome sound. Barbara Martin Stephens became involved with the King of Bluegrass at age seventeen. Don''t Give your Heart to a Rambler tells the story of their often tumultuous life together. Barbara bore his children and took on a crucial job as his booking agent when the agent he was using failed to obtain show dates for the group. Female booking agents were non-existent at that time but she persevered and went on to become the first female booking agent on Music Row. She also endured years of physical and emotional abuse at Martin''s hands. With courage and candor, Barbara tells of the suffering and traces the hard-won personal growth she found inside motherhood and her work. Her vivid account of Martin''s explosive personality and torment over his exclusion from the Grand Ole Opry fill in the missing details on a career renowned for being stormy. BarTrade Review"Set in the heyday of bluegrass and country music, Don't Give Your Heart to a Rambler is filled with famous names . . . and sparkles with the excitement of those times."--Bookreporter.com"[Don't Give your Heart to a Rambler] stands as a testament to survival, the will to persist, and the importance of choices in forging a life."--Ted Lehman's Bluegrass, Books, and Brainstorms"Don't Give Your Heart to a Rambler offers a fascinating look into the world of bluegrass during the 1950s and 60s." --Bluegrass Breakdown"A rare insider's view of Nashville's music scene and of how life with a famous bluegrass musician used to be, this account also gives a good impression of what social roles women were expected to fulfill, no matter how their husbands acted."--popcultureshelf"I've often said I wanted to know more about performers lives, with all their warts showing. Barbara Martin Stephens has achieved that for Jimmy Martin. Human beings are complex. Our stories are never simple, and she has written her story, revealing a life and keeping it true."--No Depression"There is not another book as direct and revealing about the socioeconomic background of a major bluegrass artist. . . . Barbara Martin Stephens has given us a unique and intimate memoir of those years."--Marian Leighton Levy"A fascinating book. . . . There's never been a book quite like this in the bluegrass world."--Ken Irwin“After reading this book, fans should have a broader knowledge of Martin’s flamboyant personality and the complex, conflicted character he displayed away from the spotlight.”—Bluegrass Unlimited "For anyone who has ever yearned to know more about the man behind the boisterous King of Bluegrass personality, Don't Give Your Heart to a Rambler should certainly offer an intriguing perspective."--Bluegrass Today "While the music of Jimmy Martin is documented for the ages, his detailed personal life has never been so thoroughly told until now. Barbara Martin lived with the man, bore four of his children, and served as his manager and booking agent during the glory days when he was known as 'Mr. Good ‘N Country Music.' Brutally honest, this book runs the gamut of emotions giving us a first-person account of one the most talented—yet complicated—performers during the golden years of country and bluegrass music." —Eddie Stubbs, WSM Grand Ole Opry Announcer "Jimmy Martin was a sparkling stylist, both as a singer and a guitarist, a brilliant showman whom few could follow onstage, and a tortured soul who once, when I simply said hello to him at the Grand Ole Opry, threatened to whip my ass right there on the side of the stage. I met Jimmy early in my career and thought I knew him fairly well. After reading Barbara's painfully honest portrayal, however, I realize I hardly knew him at all."--Bill Anderson "I can't say enough good things about Barbara Martin and her influence on bluegrass music. She was an early pioneer with booking and representing her artist partner Jimmy Martin. The new venues she was able to put Jimmy into with his music was not easy in any way because Bluegrass is a music that is only appreciated by being watched and performed. Barbara was on the ground floor of all concerts and shows that was the forerunner of bluegrass festivals as we know them today. Thanks again Barbara for all your hard work, courage, many years of hearing no from promoters and telling us your story with this book."--Ronnie Reno "Barbara Martin has written a fascinating book about her years with Jimmy Martin, the King of Bluegrass. If you are a fan of Jimmy Martin—the artist or the man—buy this book to understand more about both."--Jesse McReynolds

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Book SynopsisTrade ReviewKlaus P. Wachsmann Prize for Advanced and Critical Essays in Organology, the Society for Ethnomusicology (SEM), 2018 "The book offers models for researching the art of instrument makers. It shows the need for studying a wide range of crafters to learn about musical history."--Journal of Folklore Research"The book presents a concise overview of banjo history and provides insight into construction trends and the cultural relevance of the instrument. Readers interested in the banjo's place in old-time music and its evolution over the past 50 years will find this book an informative and worthy read."--Old-Time Herald "Jones-Bamman provides a detailed description of the steps involved in building an old-time banjo: from the selection of the wood, to countless design decisions regarding aesthetics, structure, and tone, to choice of hardware, to designing pearl inlays, to the wood finish and final set up. These technical details, explained in the words of the banjo builders themselves, nicely illustrate the evolution of the craft of contemporary banjo building." --Society for American Music Bulletin"This book will be a valuable collection to the library of any banjo maker or player keen to embrace a keener understanding of how their instrument came to be." --Old Time News"Jones-Bamman's book remains unique in its subject matter and approach and a valuable contribution to the deservedly growing body of literature on the instrument." --Popular Music and Society“The issues raised by Jones-Bamman and the information he provides to aid in their discussion have never been brought together in one volume. A significant addition to the literature.”--Bob Carlin, author of Banjo: An Illustrated History“Completely unique in his focus on present-day banjo makers and the cultural significance of the banjo for builders and players today. Jones-Bamman shows us how the banjo taps deeply into conflicting ideas about modernity and the USA’s checkered past.”--Timothy J. Cooley, author of Surfing about Music

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Book SynopsisEnvironmental sustainability and human cultural sustainability are inextricably linked. Reversing damaging human impact on the global environment is ultimately a cultural question, and as with politics, the answers are often profoundly local. Cultural Sustainabilities presents twenty-three essays by musicologists and ethnomusicologists, anthropologists, folklorists, ethnographers, documentary filmmakers, musicians, artists, and activists, each asking a particular question or presenting a specific local case study about cultural and environmental sustainability. Contributing to the environmental humanities, the authors embrace and even celebrate human engagement with ecosystems, though with a profound sense of collective responsibility created by the emergence of the Anthropocene. Contributors: Aaron S. Allen, Michael B. Bakan, Robert Baron, Daniel Cavicchi, Timothy J. Cooley, Mark F. DeWitt, Barry Dornfeld, Thomas Faux, Burt Feintuch, Nancy Guy, Mary Hufford, Susan Hurley-Glowa, PatricTrade Review"Cultural Sustainabilities serves as a welcome and industrious collection that highlights not only the importance of sound but also its place in situating our current environmental and ecological plights." --Green Letters"Well-conceived . . . This volume is inspiring in that it offers new ways of looking at cultural sustainability." --Western Folklore"Cultural Sustainabilities is a superb collection of essays that broadly address the intersections of human creative practices and the environments from which they are derived and cultivated." --The World of Music"Written to introduce the reader to the universal practice of 'musicking' and the influence of real-time environmental upheaval on its conception and performance, and the physical and technological systems that support and maintain its integrity, the scope and scale of the literature illuminates the immense challenges of survival in a time of climatic upheaval." --Environmental Values"A must read for those interested in ecomusicology and will serve as a valuable resource for scholars in the Environmental Humanities writ large. . . . Students encountering Cultural Sustainabilities will be inspired to explore, advocate, and create a more equitable and pleasurable 'sound commons.'"--Mark Pedelty, author of A Song to Save the Salish Sea: Musical Performance as Environmental Activism​"The topic of sustainability is of broad interest across many disciplines and activities in this era of rapid climate change, globalized communications, and musical transformations. Music and sustainability is a new area and there are very few publications on the subject, and none as large and as well conceived as this one. It promises to make a significant addition."--Anthony Seeger, author of Why Suyá Sing: A Musical Anthropology of an Amazonian People​"Cultural Sustainabilities is a must read for those interested in ecomusicology and will serve as a valuable resource for scholars in the environmental humanities writ large. . . . Students encountering Cultural Sustainabilities will be inspired to explore, advocate, and create a more equitable and pleasurable 'sound commons.'"--Mark Pedelty, author of A Song to Save the Salish Sea: Musical Performance as Environmental Activism

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Book SynopsisRecorded in 1949, Foggy Mountain Breakdown changed the face of American music. Earl Scruggs's instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass's entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television. Thomas Goldsmith explores the origins and influence of Foggy Mountain Breakdown against the backdrop of Scruggs's legendary career. Interviews with Scruggs, his wife Louise, disciple Bela Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs's musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of Foggy Mountain Breakdown helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.Passionate and long overdue, Earl Scruggs and Foggy MountainTrade Review"Unexpectedly moving . . . Well-written and researched . . . Goldsmith's sweeping view of twentieth-century popular culture tells a fascinating story of how a regional banjo style journeyed from rural North Carolina to the American mainstream, and of the musician and his iconic composition that took it there." --Journal of American Folklore "Goldsmith packs his narrative with not only numerous facts but interesting anecdotal evidence. . . . All told, the author skillfully succeeds in weaving together an explanation of how Scruggs and his tune became legendary. " --North Carolina Historical Review "Those who are already fans of 'Earl' and his astounding banjo work will certainly want to own this volume. . . . Earl Scruggs and Foggy Mountain Breakdown is a worthy addition to the library of any bluegrass, country, and acoustic-music enthusiast." --Journal of Folklore ResearchTable of ContentsCoverTitleCopyrightContentsAcknowledgments1. Out to Follow Scruggs’s Path2. “I grew up around a banjo”3. The Piedmont’s Rich Musical Soil4. Early Professional Days5. Joining Bill Monroe6. Working as a Blue Grass Boy7. Flatt and Scruggs Build a Career8. Recording “Foggy Mountain Breakdown”9. “Like a Jackhammer” — How the Tune Works10. The Number-One Banjo Player11. The Beverly Hillbillies Welcomes the Banjo12. Riding with Bonnie and Clyde13. Scruggs without Flatt: A Period of Transition14. Scruggs’s Banjo Gains a Cult Following15. Reaping the HarvestNotesIndex

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Book SynopsisIn the twentieth century, Appalachian migrants seeking economic opportunities relocated to southwestern Ohio, bringing their music with them. Between 1947 and 1989, they created an internationally renowned capital for the thriving bluegrass music genre, centered on the industrial region of Cincinnati, Dayton, Hamilton, Middletown, and Springfield. Fred Bartenstein and Curtis W. Ellison edit a collection of eyewitness narratives and in-depth analyses that explore southwestern Ohio’s bluegrass musicians, radio broadcasters, recording studios, record labels, and performance venues, along with the music’s contributions to religious activities, community development, and public education. As the bluegrass scene grew, southwestern Ohio''s distinctive sounds reached new fans and influenced those everywhere who continue to play, produce, and love roots music. Revelatory and multifaceted, Industrial Strength Bluegrass shares the inspiring story of a bluegrass hotbed and thTrade Review"If you believe that a purpose of volumes such as Industrial Strength Bluegrass is to stimulate thinking about a subject, then Industrial Strength Bluegrass serves its purpose well." --Journal of Folklore Research"If you believe that a purpose of volumes such as Industrial Strength Bluegrass is to stimulate thinking about a subject, then Industrial Strength Bluegrass serves its purpose well." --Journal of Folklore Research"With its extensive notes and sources, this book is a rich resource of information and powerful insights into the people and times that left an indelible mark on bluegrass." --Bluegrass Unlimited​"Industrial Strength Bluegrass: Southwest Ohio’s Musical Legacy, both the book and the recording, are major contributions to the field of Appalachian Studies. These works provide a view of the urban Appalachian experience that reveals the story of Appalachian migration, the influence of Appalachian culture in areas like greater Cincinnati and takes us up to the present ways that Appalachian culture still impacts the region and the world beyond." --Urban Appalachian Community Coalition​"They have created this lively look at the southern Ohio region and the music that magically materialized when the right people came along. . . . Soundly supported scholarship and down-to-earth accounts from those who were there and made it happen." --Bookreporter.com"My family left Jackson County, Kentucky, in the late 1950s to find work in Ohio. The sounds and songs from home naturally tagged along with us. Riding around in Dad’s truck there as a kid, the first music I remember hearing was the Osborne Brothers and Flatt and Scruggs on WPFB. Industrial Strength Bluegrass brings to life how bluegrass developed in the Cincinnati/Dayton region. I love the vivid stories of how the genre came of age and all the fascinating characters who catapulted it onto the world’s stage."--Dan Hays, former Executive Director of the International Bluegrass Music Association​​​"Essential reading for any bluegrass fan. What a cast—from flawed geniuses, raucously liberated women, and gun-toting business proprietors to Eagle Scouts, professors, and creative artists of the highest order, all mixed together in the same petri dish, all true to themselves and their music. The setting for the first bluegrass college concert, Antioch, as well as where Mike Lilly rode his Harley into the Living Arts Center; Moon Mullins professed, promoted, and ad-libbed commercials with colorful epithets surpassing Barnum’s; motley barrooms became famous nationwide for the quality of the music played there; and, true to their work ethic, bluegrass professionals sprouted everywhere and many rose to national fame. The barroom bluegrass of Southwest Ohio spawned by Appalachian transplants who had taken the 'trail of the bologna rinds' was just as good and often more exciting than the bluegrass of the traveling professionals who first developed the music. When the two met here, it split the bluegrass atom."--Ron Thomason, founder and leader of the Dry Branch Fire Squad​​​"An appealing and accessible musical history that showcases the importance of homegrown regional musical culture. For bluegrass fans and historians of the genre." --Library JournalTable of ContentsForeword: Industrial Strength Bluegrass Neil V. Rosenberg Notes from the Editors Acknowledgments A Southwestern Ohio Bluegrass Timeline 1 Appalachian Migration: Setting the Musical Stage in Southwestern Ohio Phillip J. Obermiller 2 Bobby Osborne Remembers How It Was Bobby Osborne and Joe Mullins 3 All the Way to the Fence: Bluegrass Broadcasting in the Miami Valley Daniel Mullins 4 Taking the Music Home: Bluegrass Recording Studios, Record Labels, and Record Stores Mac McDivitt 5 Sing Me Back Home: Early Bluegrass Venues in Southwestern Ohio Larry Nager 6 Using My Bible for a Roadmap: Sacred Bluegrass Music in the Miami Valley Fred Bartenstein 7 Green to Bluegrass: Reflections on an Unlikely Musical Career Lily Isaacs 8 Buckeyes in the Briar Patch: Southwestern Ohio Bluegrass in the 1970s Jon Hartley Fox 9 The Living Arts Center’s East Dayton Roots Rick Good 10 Bluegrass Music and Urban Appalachian Identity in Cincinnati Nathan McGee 11 Distinctive Qualities of Southwestern Ohio Bluegrass Ben Krakauer Appendix A: Recommended Southwestern Ohio Bluegrass Recordings Appendix B: For Further Reading List of Contributors Index

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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 SynopsisA study on fiddling in the Fulbe, Hausa, and Dagbamba cultures of West Africa. This book not only explains the history of the instrument itself, but also discusses the processes of stylistic transference and adaptation, suggesting how these may have contributed to differing performance practices.Trade ReviewThe scope of this fascinating and painstakingly researched study is broad, but it is also meticulously focused, so that, after an introduction to the one-stringed spike bowl lute and a look at how it came to the region, Cogdell Djedje takes on each of the three cultures [Fulbe, Hausa and Dagbamba] in turn.October 2009 -- Catherine Nelson * The Strad *Fiddling in West Africa furnishes substantive and intelligent answers to various questions about the nature and purpose of fiddling in Fulbe, Hausa, and Dagbamba. Djedje makes a significant contribution to ethnomusicology with far-reaching impact across disciplinary boundaries. Fiddling in West Africa is an invaluable resource for students and scholars, as well as the general public. Volume 36, No. 3, August 2009 * American Ethnologist *Fiddling in West Africa . . . is a phenomenal addition to critical literature on African music in particular and ethnomusicology in general.Ths seminal publication represents an excellent consummation of a sustained scholarship on a West African music tradition that spans three decades. May 2008 * Intl. Journal of African Historical Studies *This impressive book is both ambitious in its scope and meticulously detailed. . . The importance of Fiddlers in West Africa spans far beyond being a rich source of information about fiddling traditions. . . DjeDje's book defies these stereotypes by opening the reader to the sheer diversity of musical instruments, approaches, and repertoires in West Africa.66.2 Dec. 2009 * Notes *. . . Fiddling in West Africa is a good resource not only for a Westerner who knows next to nothing about fiddling in some 'obscure' corner of Africa, but also for the African student and scholar trying to understand the musical practices of their folk. This interesting piece is as informative as it educative, and should be at the head of reading-lists for students of ethnomusicology and cultural studies, and on the desk of the avid reader.October 15, 2008 -- Abdulai Salifu * Indiana University *[T]his is a fascinating book that deserves the attention not only of African-oriented scholars but also of ethnomusicologists in general, and it is recommended to all institutions dealing with African cultures. 51(2), 2009 * The World of Music *Table of ContentsContentsAcknowledgmentsIntroduction: A Master Fiddler and a Significant but Little-Known Tradition1. Fiddling in West Africa: Understanding the Culture Area2. An Affirmation of Identity: Fulbe Fiddling in Senegambia3. Calling the Bori Spirits: Hausa Fiddling in Nigeria4. In Service to the King: Dagbamba Fiddling in GhanaConclusion Appendix: Distribution of the One-Stringed FiddleNotesList of References Discography and VideographyIndex

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Book SynopsisTrade ReviewThis is a groundbreaking, important translation, and it benefits from the expertise of its editors, all well-known musicologists whose research has focused on Russian music. . . . Highly recommended. January 2009 * Choice *. . . truly the cornerstone for the study of Russian music before the nineteenth century . . . a refreshingly balanced presentation of both sacred and secular music traditions that is truly remarkable in its breadth of scholarship and detail. . . . Findeizen's History deserves high praise and enthusiastic endorsement; it belongs on every post secondary-course reading list as the preeminent source for the study of Russia's musical heritage.April 2009 -- Gregory Myers * Port Moody, BC, Canada *Copiously illustrated, comprehensive, and exhaustive . . . . a historical first. . . . deserves high praise and enthusiastic endorsement . . . as the preeminent source for the study of Russia's musical heritage.Vol. 68.2 April 2009 -- Gregory Myers * Port Moody, BC, Canada *Findeizen's prose provides a fascinating narrative, and the translator, Samuel William Pring, has succeeded in conveying its original flavour. . . . I can attest that undertaking a translation and commentary that would meet present-day academic criteria must have seemed an almost impossible task. That is why I wish to emphasize that the completion of this project is one worth celebrating, and that the collective labour of those involved deserves the approbation of the wider musicological community.Vol.6.2 2009 -- Marina Ritzarev * Eighteenth-Century Music *[This new translation] . . . is a significant resource which exposes some fascinating episodes in Russia's musical past and which will no doubt encourage the study of early Russian music by scholars outside the country, just as the original publication stimulated studies by musicologists in Russia itself.6/2 Sept. 2009 -- Marina Ritzarev * Eighteenth-Century Music *[This] work stands as an impressive testimony to a life of intensive and indefatigable research. . . [This] edition of Findeizen's History should leave music historians with no excuses for keeping Russian music outside their field of interest and inquiry.Vol. 90.4 Nov. 2009 -- Francis Maes * Ghent University *Certainly, there is still much to be learnt about Russian music before Glinka, and even for those working on the music of the nineteenth, twentieth and now twenty-first centuries, Findeizen and his editors are models for us all.Vol. 88, no. 4, October 2010 * Slavonic and East European Review *Findeyzen's major work . . . remains the foundation-stone on which all later work on the history of Russian music before the 19th century has been built. -- Gerald Abraham * The New Grove Dictionary of Music and Musicians *. . . Meticulously indexed, it includes relevant musical scores as appendices and is wonderfully illustrated with everything from images of instruments to skomorokhi. There are copious tables of little known musical terms, samples of chastushki, synopses of operas, lists of published works and famous musicians and composers. . . If it took place in Russia from 1 AD to the end of the 1800s and had to do with music, you are likely to find something in here about it. An invaluable reference work. * Russian Life *Throughout the work Findeizen's invaluable original illustrations and music examples have been faithfully reproduced, together with the author's extensive notes. But what is particularly impressive about this volume, which forms the pièce de résistance of the fine series of Russian Music Studies . . . under the editorship of Malcolm Hamrick Brown, is the manner in which the editors, Miloš Velimirovic and Claudia Jensen, have not only annotated and corrected the work in order to bring it up to date in the light of contemporary scholarship but have provided a vast array of new musicological and bibliographical materials, which must in turn serve as a foundation for future research into the still comparatively little explored field of early Russian music. . . . this impressive undertaking . . . .[is] a remarkable achievement.56.4 October-December 2009 -- Gerald Seaman * University of Oxford *Table of ContentsEditors' Introduction to Volume 1Author's PrefaceList of Abbreviations1. Introduction. The Predecessors of the Slavs2. Pagan Rus'3. Kievan Rus'4. Novgorod the Great5. The Activities of the Skomorokhi in Russia6. Music and Musical Instruments in Russian Miniatures, Woodcuts, and Glossaries7. A Survey of Old Russian Folk Instruments8. Music in Ancient Moscow (Fifteenth and Sixteenth Centuries)9. Music in the Monastery. Chashi (Toasts). Bell Ringing. Sacred Performances (Sixteenth and Seventeenth Centuries)10. Music in Court Life in the Seventeenth Century11. A Brief Survey of Singers, Composers, and Music Theorists of the Sixteenth and Seventeeth Centuries12. Music and Theater in the Age of Peter the GreatMusic AppendixNotesVolume 1 Bibliography

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Book SynopsisA study of the construction of Irish national identity focusing on Irish music and the colonial relationship between Ireland and EnglandTrade Review“Leith Davis’ book . . . is, ambitiously, ‘concerned with how the discourse of music became increasingly gendered in the eighteenth and nineteenth centuries as gender was utilized variously in the representation of both nationalist and colonialist formations.’ . . . Davis traces these knotted lines of resistance and hegemony through eight cogent and convincing essays, each one studying a particular moment in Irish musical discourse.” —British Association for Romantic Studies Bulletin and Review“Davis writes very much as a literary and cultural critic, not as a musicologist, but hers is a stimulating interdisciplinary study, illustrated with engravings and sheet music that demonstrate how the association of Ireland and orality grew out of print culture.” —Studies in English Literature"Leith Davis has written an exemplary, original, and sophisticated book that displays both a wide and deep knowledge of the discourse about Irish music from its earliest beginnings and a complete mastery of postcolonial theory as it relates to Irish studies." —Elizabeth Butler Cullingford, University of Texas at Austin"This is an original, well-written book that will be of great interest to scholars in Irish studies, particularly the many working within postcolonial and feminist theoretical frameworks." —Mary Jean Corbett, Miami University

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Book SynopsisBefore he achieved his dream of being an internationally known rock personality, Ryan Adams had a band in Raleigh, North Carolina. Whiskeytown led the wave of insurgent-country bands that came of age with No Depression magazine in the mid-1990s, and for many people it defined the era. Adams was an irrepressible character, one of the signature personalities of his generation, and as a singer-songwriter he blew people away with a mature talent that belied his youth. David Menconi witnessed most of Whiskeytown’s rocket ride to fame as the music critic for the Raleigh News & Observer, and in Ryan Adams, he tells the inside story of the singer’s remarkable rise from hardscrabble origins to success with Whiskeytown, as well as Adams’s post-Whiskeytown self-reinvention as a solo act.Menconi draws on early interviews with Adams, conversations with people close to him, and Adams’s extensive online postings to capture the creative ferment thTrade Review"Author David Menconi, music critic for the Raleigh, NC, News & Observer, pulls back the curtain on folk icon Ryan Adams in his new book, Ryan Adams: Losering, A Story Of Whiskeytown. From Adams' earliest experiences listening to country music on his grandmother's radio, through his obsessive punk rock phase and dusty-throated alternative-country explosion, Menconi leaves no stone unturned." - Todd Sterling, ReDigiTable of Contents Preface Part I: Before Chapter One Chapter Two Chapter Three Part Two: During Chapter Four Chapter Five Chapter Six Chapter Seven Chapter Eight Chapter Nine Chapter Ten Chapter Eleven Chapter Twelve Part Three: After Chater Thirteen Chapter Fourteen Chapter Fifteen Chapter Sixteen Chapter Seventeen Selected Discography Acknowledgments

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Book SynopsisA group of three friends who made music in a house in Lubbock, Texas, recorded an album that wasn’t released and went their separate ways into solo careers. That group became a legend and then—twenty years later—a band. The Flatlanders—Joe Ely, Jimmie Dale Gilmore, and Butch Hancock—are icons in American music, with songs blending country, folk, and rock that have influenced a long list of performers, including Robert Earl Keen, the Cowboy Junkies, Ryan Bingham, Terry Allen, John Hiatt, Hayes Carll, Lucinda Williams, Steve Earle, and Lyle Lovett.In The Flatlanders: Now It’s Now Again, Austin author and music journalist John T. Davis traces the band’s musical journey from the house on 14th Street in Lubbock to their 2013 sold-out concert at Carnegie Hall. He explores why music was, and is, so important in Lubbock and how earlier West Texas musicians such as Buddy Holly and Roy Orbison, as well as a touring Elvis Presley, inspireTrade ReviewDavis packs a wealth of material into this book, drawing on his considerable insight into the American music scene. It’s an enjoyable read, highlighting an oft-overlooked contribution to the development of Americana. * R2 *Table of Contents Acknowledgments Introduction Part One: The Land Chapter 1: The Llano Chapter 2: The City Chapter 3: The Invasion Chapter 4: The House Part Two: The Men, First Verse Chapter 5: Joe, Jimmie, and Butch, Part 1 Chapter 6: Compañeros Part Three: The Music Chapter 7: Genesis Chapter 8: More a Legend Chapter 9: Diaspora Part Four: The Men, Second Verse Chapter 10: Joe, Jimmie, and Butch, Part 2 Part Five: The Return Chapter 11: More a Band Chapter 12: Alchemy: Now Again Chapter 13: Cruising Speed: Wheels of Fortune/Live '72 Chapter 14: Dust to Dust: Hills and Valleys Chapter 15: Closing the Circle: The Odessa Tapes Epilogue: Carnegie Hall: Practice, Practice, Practice Discography

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Book SynopsisBased on extensive historical and genealogical research, Amy Shaw presents a grounded picture of a musician, his family, and his community in the Upper Midwest, revealing much about music and dance in the area.Trade ReviewThe story of Ole Hendricks provides a valuable and grounded glimpse of music and social life in rural America in the nineteenth century, bringing into focus the long-overlooked importance of commonplace books-that is, handwritten music notebooks-in the performance and preservation of traditional music." - Paul Tyler, Old Town School of Folk Music"A thorough personal history that brings to light a previously little-known musician, Norwegian American fiddler Ole Hendricks. This excellent, well-rounded introduction makes both this history, as well as his tunebook, available for readers and musicians." - Laura Ellestad, University of South-Eastern Norway

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Book SynopsisA new edition of the classic text on African American music.

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Book SynopsisHere, 16 scholars from Europe and the USA offer essays on topics such as the Child ballads in their British and American forms; aspects of the oral literatures of France, Ireland, Scandinavia, ancient Greece, modern Egypt and medieval England as well as recent literary ballads and popular songs.Table of ContentsIntroduction Joseph Harris Technique, Text, and Context: Formulaic Narrative Mode and the Question of Genre Fleming G. Andersen Popular Modes of Narration and the Popular Ballad Hugh Shields Talerole Analysis and Child's Supernatural Ballads David Buchan The Historical Moorings of "The Gypsy Laddie": Johnny Faa and Lady Cassillis Sigrid Rieuwerts The Americanization of Scottish Ballads: Counterevidence from the Southwest of Scotland William B. McCarthy Parity of Ignorance: Child's Judgment on "Sir Cohn" and the Scottish Verdict "Not Proven" Emily Lyle Literary Backgrounds of the Scandinavian Ballad Vesteinn Olason Oral Literature, Written Literature: The Ballad and Old Norse Genres Bengt R. Jonsson Tradition and Innovation: The Influence of Child Ballads on the Anglo-American Literary Ballad Natascha Wurzbach Cultural Diglossia and the Nature of Medieval Latin Literature Jan Ziolkowski Song and Dance: Reflections on a Comparison of Faroese Ballad with Greek Choral Lyric Gregory Nagy Ring Composition in Maldon; or, a Possible Case of Chiasmus in a Late Anglo-Saxon Poem Albert B. Lord The Middle English Popular Romance: Minstrel versus Hack Writer Karl Reichl Grakappan (AT 425) as Chapbook and Folktale in Sweden Stephen A. Mitchell The Interplay of Genres in Oral Epic Performance: Differentially Marked Discourse in a Northern Egyptian Tradition Dwight Reynolds

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Book SynopsisMusic, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape. Reds, Whites, and Blues examines the political force of folk music, not through the meaning of its lyrics, but through the concrete sTrade ReviewWinner of the 2011 Charles Tilly Best Book Award, Collective Behavior and Social Movements Section of the American Sociological Association "Although some of Roy's theoretical discussions in the early chapters should interest folk music scholars, his book will be more important to students of social movements."--Robert V. Wells, Journal of American History "The importance of this excellent book is that it revisits these two movements and reveals once again the power of culture."--Ron Eyerman, American Journal of Sociology "With these carefully documented and well-argued case studies, Roy makes a considerable contribution to cultural sociology in general and social movement studies in particular, and those with a background in the latter field will gain the most from the work as a whole."--Dana Sawchuk, Political Studies ReviewTable of ContentsPreface ix Chapter One: Social Movements, Music, and Race 1 Chapter Two: Music and Boundaries: Race and Folk 28 Chapter Three: The Original Folk Project 49 Chapter Four: White and Black Reds: Building an Infrastructure 79 Chapter Five: Movement Entrepreneurs and Activists 100 Chapter Six: Organizing Music: The Fruits of Entrepreneurship 126 Chapter Seven: The Highlander School 155 Chapter Eight: Music at the Heart of the Quintessential Social Movement 181 Chapter Nine: A Movement Splintered 213 Chapter Ten: How Social Movements Do Culture 234 Appendix: Coding of Songbooks and Song Anthologies 251 Notes 253 References 263 Index 277

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Book SynopsisAn absorbing account of the influence of African rhythms on contemporary black Brazilian music and the development of music world wideTrade Review'Peter Fryer has now taken the study of the history of Brazilian music to another level' -- Journal of Iberian and Latin American StudiesTable of ContentsMaps List of illustrations Preface Introduction 1. The heritage of Nigeria and Benin: music for worship 2. The Angola heritage: capoeira and berimbau 3. The 'Angola warble': street cries and worksongs 4. Brazil's dramatic dances 5. Three vanished instruments 6. The African dance heritage 7. Brazil's Atlantic dances 8. The emergence of Brazilian popular music 9. Maxixe and urban samba Appendix A: Continuity and change in the music of the Kongo-Angola culture area Appendix B: African musical instruments in Brazil Appendix C: The Brazilian musical heritage in Nigeria and Benin Appendix D: The music and dance of Cape Verde Appendix E: Relaçaõ da fofa que veya agora da Bahia: extract Discography Notes Index

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Book SynopsisOld and New World Highland Bagpiping provides a comprehensive biographical and genealogical account of pipers and piping in highland Scotland and Gaelic Cape Breton.Trade Review"An excellent work, well researched, splendidly footnoted, a book anyone with an interest in the subject will find a 'must have.'" The Canadian Historical Review "John Gibson has provided in this new book an incredible wealth of information." Mario Champagne, Department of Music, Stanford University "Throughout Old and New World Highland Bagpiping, John Gibson emphasises and decodes the traditional Gaelic social and cultural relationships between many of the clans and families in Scotland and in Cape Breton. Gibson manages to do an exceptional job of

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Book SynopsisTo map Woody Guthrie’s movements across space and time, the author draws not only on the artist’s considerable recorded and published output but on a wealth of unpublished sources housed in the Woody Guthrie Archives. This trove of primary documents deepens Kaufman’s intriguing portrait of a unique American artist.

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Book SynopsisOne of America’s most beloved folk singers, Arlo Guthrie was at the pinnacle of his fame in the late 1960s and early 1970s. Yet Guthrie’s career extends far beyond his years in the celebrity spotlight. Rising Son, written by Hank Reineke, recounts the veteran musician’s second act, from the early 1980s to the present.Trade Review“An elegantly written, well-researched listening companion for fans. The passages of Arlo Guthrie’s own words add a lot of texture to the book.”—Gustavus Stadler, author of Woody Guthrie: An Intimate Life “This book concludes Hank Reineke’s chronicle of Arlo Guthrie’s recording and performing career, following on from his previous volume, Arlo Guthrie: The Warner/Reprise Years. Taken together, these two volumes provide the most detailed account of the professional career of one of the most important singer-songwriters of the American twentieth and twenty-first centuries.”—Will Kaufman, author of Woody Guthrie, American Radical, Woody Guthrie’s Modern World Blues, and Mapping Woody Guthrie

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Book SynopsisThe Steelband Movement examines the dramatic transformation of pan from a Carnival street music into a national art and symbol in Trinidad and Tobago. By focusing on pan as a cultural process, Stephen Stuempfle demonstrates how the struggles and achievements of the steelband movement parallel the problems and successes of building a nation. Stuempfle explores the history of the steelband from its emergence around 1940 as an assemblage of diverse metal containers to today's immense orchestra of high-precision instruments with bell-like tones. Drawing on interviews with different generations of pan musicians (including the earliest), a wide array of archival material, and field observations, the author traces the growth of the movement in the context of the grass-roots uprisings of the 1930s and 1940s, the American presence in Trinidad in World War II, the nationalist movement of the postwar period, the aftermath of independence from Britain in 1962, the Black Power protests and the oiTable of ContentsMaps Preface Introduction 1. Festive and Musical Traditions in Trinidad 2. The Emergence of the Steelband: The 1930s and 1940s 3. The Institutionalization of the Steelband: The 1940s and 1950s 4. The Steelband in the Post-Independence Era: The 1960s and 1970s 5. The Steelband in Contemporary Trinidad and Tobago 6. The Steelband: Cultural Creativity and the Construction of Identities Suggested Listening Notes Bibliography Index

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Book SynopsisThis work focuses on old-time fiddling in Alabama from the settlement of the state through to World War II. It shows the effects of events, inventions, ethnic groups and individuals upon fiddlers' styles and what they played.

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Book SynopsisPresents the biography of Ernest Tubb. Tracing a career that began in the 1930s and continued until just a few years before Tubb's death in 1984, this title also presents the long and legendary life of the Texas Troubadour and also an unparalleled view of the world of country music in which Ernest Tubb played an essential part.Trade Review“Ernest Tubb . . . he was always bigger than life to me. Every time I sang with him, it was always the same . . . he is immortal. His life and helping hand touched mine and many more in a special way. Ronnie Pugh captured the heart and soul of Ernest Tubb in Ernest Tubb: The Texas Troubadour. This book should be a part of every country music fan’s library.”—Loretta Lynn“In many ways, Tubb is the father of modern country music, and this book is the definitive account of his career. It chronicles an age of country music that has too often been ignored by earlier writers in the field, a terra incognita in which are found the wellsprings of modern country music and the methods of presenting it. This is the best biography of any modern country music artist I have read. It will become a definitive book on American culture.”—Charles Wolfe, author of Kentucky Country, Tennessee Strings and co-author of The Life and Legend of Leadbelly“Ronnie Pugh has spent years studying and researching the life and career of my father, Ernest Tubb . . . and the picture he has painted is right on the money! It’s all here, the good and the bad. Reading the book was like having my dad back for a little while.”—Justin Tubb“The first phonograph record I ever purchased was by Ernest Tubb. He was my hero long before he became my friend. Country music has never produced a kinder, gentler, more caring humanitarian than the Texas Troubadour. Ronnie Pugh’s book is a vivid and touching portrayal of a gifted entertainer and a marvelous human being.”—Bill Anderson“This book takes its place as a standard in country music studies. Ronnie Pugh’s outstanding scholarship goes very far beyond much that remains tawdry in pop culture hype. He stands with Bill Malone, Bob Pinson, Joe Dan Boyd, Dave Whisnant, and fellow ‘natives’ who loved ‘their’ music in childhood and, as adults, paid it the dues of critical respect.”—Archie Green, author of Only a Miner and Wobblies, Pile Butts, and Other Heroes

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Book SynopsisA cultural history describing how folklore studies and the music industry helped to create a "musical color line" in the South, associating certain genres with particular racial and ethnic identities.Trade Review“[T]he most thorough achievement thus far in a growing body of scholarship and criticism demystifying and dissecting the roots of American music, and by extension the American music industry. . . . Miller goes several steps further than prior bodies of research, tracing back the artificial distinction to a confluence of marketing, scholarship, and music classification decisions, each driven to some degree by the prevailing racial attitudes of the late 19th and early 20th centuries.” - Mark Reynolds, PopMatters"A cultural exploration and, in part, a polemic, Segregating Sound is at once a social history, musical history, business history and an intellectual history. . . . Miller is an engaging writer who regularly turns memorable phrases. Thickly researched and cogently argued, Segregating Sound makes a thought-provoking, very likely lasting contribution to how we think about and relate to American musical genres.” - Barry Mazor, American Songwriter“[B]rilliant . . . . Miller is the first scholar to take the overwhelming presence of popular music in the South seriously and to weave the story of changing ideas about what makes music ‘authentic’ into the history of what musicians from the South were actually playing and what people were actually listening to. Segregating Sound tells the stories of the varied cast of characters who invented the category of southern music, a significant part of what is called ‘folk’ or ‘Americana’ or ‘roots’ music today and understood as part of the American musical canon.” - Grace Hale, Southern Spaces“[A] marvelous reappraisal of early 20th century American musical culture. . . . [Miller’s] book is rich with examples of folklorists or academics heading south in search of something ‘elemental’ and pure, and editing out anything that didn't fit. And there was a lot.” - Hua Hsu, TheAtlantic.com“Miller . . . provides a fascinating exploration of the segregation of commercial music in the US during the course of the 20th century. . . . Supported by extensive notes, this study adds considerably to the already extensive literature on the blues and country music.” - R. D. Cohen, Choice“Ultimately Miller’s study succeeds because it questions many assumptions about folk and pop music, and about the commercial music business and the academic folklore world.” - Rory Crutchfield, Popular Music“Segregating Sound provides a convincing and far-reaching argument that the duality within southern music developed out of three factors in the latter part of the nineteenth century: the rise of political and economic segregation, the academic professionalization of folklore, and the modernization of the music industry. . . . Segregating Sound is a valuable and interesting work that anyone working in cultural studies should consult.” - Kenneth J. Bindas, Register of the Kentucky Historical Society“In this head-banging, eye-opening study, Karl Hagstrom Miller examines with stunning clarity the historical and material grounding of the music industry’s three main revenue streams: live performance, recording, and publishing. Along the way, he demonstrates how the notion of authenticity in folklore discourse, systemic Jim Crow, and minstrelsy legacies worked together to calcify our contemporary—and quite naturalized—perceptions about music and racialized bodies.If you ever wondered where MTV, CMT, VH1, and BET got their marketing logic, look no further. In fact, you’ll never experience a Billboard chart, nor the words ‘keep it real’ in the same way after reading this book!”—Guthrie P. Ramsey Jr., author of Race Music: Black Cultures from Bebop to Hip-Hop“In this fascinating study of the nature of music, those who study music, and the music business, Miller explains how musicologists and folklorists tried drawing hard lines during the late 19th and early 20th centuries between what they considered music of the folk (poor black and, sometimes, white, Southern musicians) and more worldly pop music. [T]he author displays an incredible depth of knowledge and presents an important history of music.” * Library Journal *“Scrupulously researched, engagingly written, and bursting with ideas, Segregating Sound asks readers to reengage with the origins of folk and pop music in a manner that offers a roadmap to the future, rather than simply a dismantling of the past.” -- John Dougan * Journal of Southern History *“Segregating Sound provides a convincing and far-reaching argument that the duality within southern music developed out of three factors in the latter part of the nineteenth century: the rise of political and economic segregation, the academic professionalization of folklore, and the modernization of the music industry. . . . Segregating Sound is a valuable and interesting work that anyone working in cultural studies should consult.” -- Kenneth J. Bindas * Register of the Kentucky Historical Society *“[B]rilliant . . . . Miller is the first scholar to take the overwhelming presence of popular music in the South seriously and to weave the story of changing ideas about what makes music ‘authentic’ into the history of what musicians from the South were actually playing and what people were actually listening to. Segregating Sound tells the stories of the varied cast of characters who invented the category of southern music, a significant part of what is called ‘folk’ or ‘Americana’ or ‘roots’ music today and understood as part of the American musical canon.” -- Grace Hale * Southern Spaces *“Miller . . . provides a fascinating exploration of the segregation of commercial music in the US during the course of the 20th century. . . . Supported by extensive notes, this study adds considerably to the already extensive literature on the blues and country music.” -- R. D. Cohen * Choice *“Ultimately Miller’s study succeeds because it questions many assumptions about folk and pop music, and about the commercial music business and the academic folklore world.” -- Rory Crutchfield * Popular Music *"A cultural exploration and, in part, a polemic, Segregating Sound is at once a social history, musical history, business history and an intellectual history. . . . Miller is an engaging writer who regularly turns memorable phrases. Thickly researched and cogently argued, Segregating Sound makes a thought-provoking, very likely lasting contribution to how we think about and relate to American musical genres.” -- Barry Mazor * American Songwriter *Table of ContentsAcknowledgments vii Introduction 1 1. Tin Pan Alley on Tour: The Southern Embrace of Commercial Music 23 2. Making Money Making Music: The Education of Southern Musicians in Local Markets 51 3. Isolating Folk, Isolating Songs: Reimagining Southern Music as Folklore 85 4. Southern Musicians and the Lure of New York City: Representing the South from Coon Songs to the Blues 121 5. Talking Machine World: Discovering Local Music in the Global Phonograph Industry 157 6. Race Records and Old-Time Music: The Creation of Two Marketing Categories in the 1920s 187 7. Black Folk and Hillbilly Pop: Industry Enforcement of the Musical Color Line 215 8. Reimagining Pop Tunes as Folk Songs: The Ascension of the Folkloric Paradigm 241 Afterword: "All Songs is Folk Songs" 275 Notes 283 Bibliography 327 Index 351

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Book SynopsisThis book analyzes the folk songs from the Bhojpuri-speaking regions of North India to explore how ideas of gender, caste, and class are socially constructed, transmitted, questioned, and reaffirmed through their performance.Trade Review“Unearthing Gender is a welcome addition to literature on South Asian gender and folklore. Jassal writes with compassion and with technical rigor—with an eye for poetry and an appreciation for the power of performance. She is clearly moved by the creativity and artistry of the performers with whom she worked, and she conveys this sentiment well.” -- Ian Woolford * Journal of Anthropological Research *“Erudite and original, this book makes a signal contribution to scholarship on gender, class, caste, sexualities, identities, and labor by bringing attention to the lives and practices of low-caste peasants in the rural North Indian countryside. Engaging and expertly written – Jassal’s prose enacts a most pleasing poetics to this reader’s ear – the genius behind Unearthing Gender lies in its use of women’s folk song genres.” -- Antoinette DeNapoli * Anthropos *“Jassal’s project breaks new ground for ethnomusicologists to take up the challenge of combining research on the labor of music making in the context of rural agrarian political economies. . . . An engaging combination of detailed ethnography and insightful interpretation of song texts and their social significance. . . .” -- Rehanna Kheshgi * Ethnomusicology Review *“Ultimately, this beautifully written and highly readable (and teachable) ethnography offers important insights into gender, caste, and kinship. Its most immediate impact is the richness of the worlds it explores and the possibilities it raises for thinking about the place of expression in the crafting of culture. What comes through most vividly, aside from the poetry of the songs themselves, is the vibrancy and warmth of the lives of those who sing them. Jassal’s portrait of women’s expressive lives is one of deep humanity and, at its core, is about possibilities for action, intimacy, and selfhood.” -- Sarah Pinto * Journal of the Royal Anthropological Institute *"A particularly cogent example of how much is to be gained by attending simultaneously to the structural and expressive aspects of culture and to the subtle and complex ways subversion and reinforcement can harmonize and create dissonance in the very same tune." -- Coralynn V. Davis * Asian Ethnology *"Recalling Smita Tiwari Jassal’s own ancestral roots in this rural region, I see this lovingly researched book as embodying one such way of remembering, reframing, and transmitting songs into the future." -- Kirin Narayan * Journal of Folklore Research *Table of ContentsAcknowledgments xi Note on Transliteration and Pronunciation xvii Introduction. The Unsung Sing 1 1. The Daily Grind 33 2. Singing Bargains 71 3. Biyah/Biraha: Emotions in a Rite of Passage 115 4. Sita's Trials 155 5. When War is Marriage 189 6. Taking Liberties 219 Conclusion. Taking Liberties 219 Notes 261 Glossary 271 Bibliography 277 Index 289

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Book SynopsisA collection of essays considering how country music became "white," how that fictive racialization has been maintained, and how African American artists and fans have used country music to elaborate their own identities.Trade Review"Hidden in the Mix is a comprehensive and worthy addition to the canon of popular music history. It breaks new ground and digs deep. By looking at both historical traditions (the banjo, early blues-hillbilly music) and contemporary cultural phenomena (hick-hop and country pop), as well as African American artists past and present (Bill Livers, Ray Charles, Cowboy Troy), the book greatly expands our knowledge of this intriguing subject."—Holly George-Warren, author of Public Cowboy No. 1: The Life and Times of Gene Autry"Diane Pecknold's collection is profoundly important in implication and a long-awaited intervention in the country-music literature."—Aaron A. Fox, author of Real Country: Music and Language in Working-Class Culture“Diane Pecknold rounds up some of the better music writers in academia in order to put a light on country's many black roots and the country's unease with said roots. It's not perfect, but what's good here makes the collection indispensable.” -- RJ Smith * The Record, NPR *“Country music is white music. Its performers are white; its repertoire is white; its audience is white. That's the genre's image, anyway. But it's largely a myth, debunked decisively in Hidden in the Mix.” -- Noah Berlatsky * Chicago Reader *“A fascinating and long-overdue compendium of essays that shed new light on country music’s complex and diverse history.” -- Bill Baars * Library Journal *“Hidden in the Mix . .. steps in to set the record straight, within a dozen essays that tackle varied topics while persistently analyzing the racial history of country music and how it manifests itself, or is ignored, in the present – including in the works of country-music historians.” -- Dave Heaton * PopMatters *“While rich in detail and strong in opinions, these scholarly essays are nuanced and balanced. The writing quality is superb too…. Hidden in the Mix is an excellent contribution to country music scholarship.” -- B. Lee Coor * Popular Music and Society *"The collection helpfully analyzes the paradox that country music has been stereotypically framed as 'white music,' but a long tradition of black performers and fans exists. It uncovers the historical discourses that over time obscured country music’s multiracial origins and history." -- Leigh Edwards * Journal of American Culture *“This is a useful collection with an engaging interdisciplinary balance of focus and imagination…. [T]he book is on the whole accessible, fresh, and contemporary in its tone and synthesis. The non-music specialist as well as the music history insider should find much to appreciate.” -- Steven Garabedian * Journal of Southern History *“Hidden in the Mix is a worthwhile book that will appeal to the student of history, culture, music, and the South’s role in shaping American identity.” -- Barbara A. Baker * Alabama Review *“[S]imply the best collection of academic essays about popular music I have read in years. … When it comes to proving the centrality of American music to the study of American history, Hidden in the Mix has few recent equals.” -- Harvey G. Cohen * Journal of American Studies *Table of ContentsIntroduction. Country Music and Racial Formation / Diane Pecknold 1 Part One. Playing in the Dark 1. Black Hillbillies: African American Musicians on Old-Time Records, 1924–1932 / Patrick Huber 19 2. Making Country Modern: The Legacy of Modern Sounds in Country and Western Music / Diane Pecknold 82 3. Contested Origins: Arnold Schultz and the Music of Western Kentucky / Erika Brady 100 4. Fiddling with Race Relations in Rural Kentucky: The Life, Times, and Contested Identity of Fiddlin' Bill Livers / Jeffrey A. Keith 119 Part Two. New Antiphonies 5. Why African Americans Put the Banjo Down / Tony Thomas 143 6. Old-Time Country Music in North Carolina and Virginia: The 1970s and 1980s / Kip Lornell 171 7. "The South's Gonna Do It Again": Changing Conceptions of the Use of "Country" Music in the Albums of Al Green / Michael Awkward 191 8. Dancing the Habanera Beats (in Country Music): The Creole-Country Two-Step in St. Lucia and Its Diaspora / Jerry Wever 204 9. Playing Chicken with the Train: Cowboy Troy's Hick-Hop and the Transracial Country West / Adam Gussow 234 10. If Only They Could Read between the Lines: Alice Randall and the Integration of Country Music / Barbara Ching 263 11. You're My Soul Song: How Southern Soul Changed Country Music / Charles L. Hughes 283 12. What's Syd Got to Do with It? King Records, Henry Glover, and the Complex Achievement of Crossover / David Sanjek 306 Bibliography 339 Contributors 361 Index 365

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Book SynopsisIn the early nineteenth century Serb scholar Vuk Karadzic collected and published now classic transcriptions of Balkan oral poetry.

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Book SynopsisUsing ethnographic data collected in China and South Korea between 2004 and 2011, Sound of the Border provides a comprehensive view of the music of Koreans in China (Chaoxianzu), from its time as manifestation of a displaced culture to its return home after more than a century of amalgamation and change in China.

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Book SynopsisThe first English-language book on Korea's rich folksong heritage, and the first major study of the effects of Japanese colonialism on the intangible heritage of its former colony.

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Book SynopsisFolk music is more than an idealized reminder of a simper past. It reveals a great deal about present-day understandings of community and belonging. It celebrates the shared traditions that define a group or nation. In America, folk music--from African American spirituals to English ballads and protest songs--renders the imagined community more tangible and comprises a critical component of our diverse national heritage. In I Hear America Singing, Rachel Donaldson traces the vibrant history of the twentieth-century folk music revival from its origins in the 1930s through its end in the late 1960s. She investigates the relationship between the revival and concepts of nationalism, showing how key figures in the revival--including Pete Seeger , Alan Lomax, Moses Asch, and Ralph Rinzler--used songs to influence the ways in which Americans understood the values, the culture, and the people of their own nation. As Donaldson chronicles how cultural norms were shaped over the course of

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Book SynopsisFor more than fifty years, Rounder Records has been the world’s leading label for folk music of all kinds. David Menconi’s book is the label’s definitive history, drawing on previously untapped archives and extensive interviews with artists, Rounder staff, and founders Ken Irwin, Marian Leighton Levy and Bill Nowlin.Trade ReviewAn admiring tribute [and] well-researched celebration of Rounder's influence and accomplishments."—Kirkus Reviews

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Book SynopsisThis major collection of courting and fertility songs documents a nearly lost element of highland Maya ritual life, revealing significant remnants of the ancient Maya belief system in songs that date back to the early colonial era.Trade Review"[A] new classic in the field of Mayan music studies." * Latin American Music Review *"[O'Brien-Rothe's research practices] allowed for a collaborative research approach that was not merely a mechanism to compensate for her language skills but a way to understand the broader uses and meanings of ritual language in songs." * Latin American Research Review *Table of Contents Forewords Allen J. Christenson Sandra L. Orellana Acknowledgements Introduction A Personal Note Research in Santiago Atitlán Chapter 1. The World of the Tz'utujil Maya The World of Spirits "Song of the Spirit-Lord of the World" ("B'ix rxin Rajau Mund") Duality and Metaphor in the Santo Mundo The Presence of the Nawals Chapter 2. The Dance and Songs of the Nawals Old Mam Creates the Recibos "Song of APla's Sojuel" ("B'ix rxin APla's Sojuel") Dance, Movement, and Songs: The Divine Currency of Sacrifice Dancing the Bundle of San Martín Midwife's Prayer and "Song of San Martín" ("B'ix rxin Martín") Rocking the Cradle of the Marias "Song of the Rocking Cradle" Dancing the Wind-Men and the Rain-Men Rousing San Martín and the Spirit-Lords of Rain with Song "Song of Martín" ("B'ix rxin Martín") Calling the Spirits of the Dead and the Drowned with Songs Chapter 3. The "Songs of the Road": Texts and Contexts The Road in the Tz'utujil Maya World Old Mam, the Guardian of the Road, Creates Music and Dance The "Songs of Mam" ("B'ix rxin Mam") The First and Second "Songs of the Road" The "Third Song of the Road": Songs of Courtship and Fertility "Songs of the Young Man" ("B'ix rxin C'jol") "Songs of the Young Girl" ("B'ix rxin K'poj") "AtPal": A Song of Courting "Songs of the Young Men and Young Girls, of Insults and Ridicule" ("B'ix rxin C'jola K'poja Xyo'k'a Xtz'u'ja") "Songs of the Old Maid" Witchcraft and Shapeshifters in the Songs "Songs of the Young Girl" ("B'ix rxin K'poj") The "Sad Songs" or "Tristes" "They Fought" ("Xqueti' qui'") "Sad Song of Our Fathers, Our Mothers" ("B'ix rxin Kadta, rxin Kate' Bis") "Songs of the Flowers and the Fruit"("B'ix rxin Cotz'ej, Sk'ul") Chapter 4. The Poetics of Tz'utujil Songs and Their Relationship to K'iche'an Literature The Poetics of the Popol Vuh The Poetics of Tz'utujil Song Texts Parallelism Meter Onomatopoeia Lists Assonance and Alliteration Composition of the Texts and the Influence of Musical Rhythm Chapter 5. The Music of the "Songs of the Nawals" Form and Style of the Songs The "Recibos of Old Mam": The Vessel of Tz'utujil Culture The "Songs of Mam" "Sad Song of the Young Man" "Song of the Young Girl Who Says Goodbye to Her Mother" "Song of the Old Maid" or "Song of the Road" "Song of the Fruit" The Tz'utujil Guitar Historical Origins of the Tz'utujil Guitar Tuning Playing Style and Technique Repertoire How the Songs Survived: The Process of Assimilation and Transmission Final Words Audio Files of Recorded Examples Notes Glossary Works Cited Index

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Book SynopsisThe legendary singer-songwriter who wrote Willie Nelson's signature song Whiskey River tells about his life in honky-tonk music.Table of Contents Foreword by Willie Nelson Introduction Acknowledgments Prologue 1. I Love You So Much It Hurts 2. The Pipeliner Blues 3. Forever and Always 4. Crazy Arms 5. Night Life 6. Devil's Disciple 7. The Other Woman 8. The Sound of a Heartache 9. Undo the Right 10. You Gave Me a Mountain 11. Whiskey River 12. Man with No Soul at All 13. Time Changes Everything 14. Please Talk to My Heart 15. Home to Texas Johnny Bush Discography Selected Reading List Index Permissions

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Book SynopsisA graceful and searching photographic ode to the people of the Kerrville Folk Festival, who gather annually in the Texas Hill Country to celebrate music and live an idealistic combination of nonconformity and intentional community.Trade ReviewA striking collection of black-and-white film images capturing the spirit of the festival—guitars, sandals, tents, caliche dust, and all...In the absence of the chance to gather at Quiet Valley Ranch at least until the fall, Johnson’s tribute in It Can Be This Way Always serves as both a satisfying fix for old-timers and an intriguing intro for newcomers. * Texas Highways *Johnson pays joyful homage to the 49-year-old festival…The festival…comes to life in the pages of [It Can Be This Way Always]...Johnson’s black and white photography centers attendees and volunteers instead of the musicians, capturing the spur-of-the-moment campfires, hazy summer fashion, and communal living that define Kerrville. * Texas Monthly *Johnson’s black-and-white photos take in the entire scene, a mélange of campground, be-in, jamboree, dance floor, and jam session...Recommended for its depictions of a vibrant counterculture gathering and visual evocation of the power of music. * Library Journal *As David Johnson’s photographs make clear, that ounce of difference continues to hold sway at Quiet Valley Ranch: it can be this way always. * Journal of American Folklore *Table of ContentsForeword (Mary Muse) Preface (David Johnson) Plates Roots of the Ballad Tree: Visions of Kerrville in Historical Context (Jason Mellard) List of Plates Acknowledgments

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Book SynopsisAt the height of the blues revival, Marina Bokelman and David Evans made two trips to Louisiana and Mississippi, made recordings and interviews and took extensive field notes and photographs of blues musicians and their families. This book presents their experiences in vivid detail.

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Book SynopsisRugs handwoven in southern Mexico, luthier-made guitars, and southern US fiddle styles experience parallel changes, all absorbing just enough of the complex flavours, dynamics, and rhythms of modern life to translate inherited folklore into traditions that can be widely celebrated today.

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Book SynopsisRugs handwoven in southern Mexico, luthier-made guitars, and southern US fiddle styles experience parallel changes, all absorbing just enough of the complex flavours, dynamics, and rhythms of modern life to translate inherited folklore into traditions that can be widely celebrated today.

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