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Five-String Fiddle and the American Vernacular

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Five-String Fiddle and the American Vernacular Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2015 Five-String Fiddle and the American Vernacular Patrick Daly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Music Commons Recommended Citation Daly, P. (2015). Five-String Fiddle and the American Vernacular. Doctoral Thesis. Technological University Dublin. doi:10.21427/D7FS39 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License FIVE-STRING FIDDLE AND THE AMERICAN VERNACULAR Patrick Daly Submitted for the award of PhD Dublin Institute of Technology Conservatory of Music and Drama April 2015 Supervisor: Dr Mary Lennon DECLARATION I certify that this thesis which I now submit for examination for the award of PhD, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution. The work reported on in this thesis conforms to the principles and requirements of the DIT’s guidelines for ethics in research. DIT has permission to keep, lend or copy this thesis in whole or in part, on condition that any such use of the material of the thesis be duly acknowledged. Signature __________________________________ Date _______________ TABLE OF CONTENTS TABLE OF CONTENTS………………………………………………………………...i LIST OF FIGURES……………………………………………………………………...v LIST OF AUDIO AND VIDEO EXAMPLES (SEE DVD)……………………………vi ACKNOWLEDGEMENTS…………………………………………………………....vii ABSTRACT .................................................................................................................. viii INTRODUCTION ............................................................................................................. 1 CHAPTER 1 FROM CREMONA TO THE COLONIES, FROM STRADIVARI TO SWING ...................................................................................................................... 6 1.1 Introduction ........................................................................................................ 6 1.2 The Literature: An Overview ............................................................................. 6 1.3 What is a Violin? A Short Introduction to a Long Story ................................... 8 1.3.1 The bow ............................................................................................... 10 1.4 An Instrument of the 'Folk' .............................................................................. 11 1.4.1 Some say fiddle, some say violin ........................................................ 13 1.5 Before 1500, Before the Violin ....................................................................... 16 1.6 The 1500s and the Emergence of the 'True' Violin ......................................... 20 1.7 The 1600s and the Expanding Horizons of the Violin in America .................. 21 1.7.1 ‘Is that a Stradivarius’? ....................................................................... 22 1.8 The 1700s: Violin Making Flourishes, America Flourishes ............................ 23 1.9 The 1800s: The Violin Changes with the Times ............................................. 26 1.10 1900s - 1930s: The Fiddle Takes Hold in America ....................................... 27 1.11 1930s - 1990s: American Fiddle Music Explodes ......................................... 30 1.11.1 Bluegrass: An American cultural export: ........................................ 31 1.12 Twentieth Century Developments in Violin Making .................................... 34 1.13 Conclusion: The instrument at the end of the twentieth century ................... 37 CHAPTER 2 ANOTHER STRING TO THE BOW .................................................. 39 2.1 Introduction ...................................................................................................... 39 2.2 The Five-String Instrument .............................................................................. 39 2.2.1 C changes: The contemporary 'extended' violin family ...................... 44 2.2.2 Classifying the five-string instrument ................................................. 45 2.3 Bobby Hicks: Ten Grammys and a c String .................................................... 48 2.3.1 Johnny Gimble: five-string fiddler ...................................................... 51 2.4 Multi-Stylistic Five-String Ambassadors ........................................................ 52 2.4.1 The contemporary groove: Five-strings abound ................................ 55 2.5 Boston: The Berklee Solos, a Five-String Melting Pot ................................... 62 2.6 Conclusion ....................................................................................................... 64 CHAPTER 3 THE LONESOME SOUND .................................................................. 67 3.1 Introduction ...................................................................................................... 67 3.2 The Five-String Fiddle Repertoire ................................................................... 67 3.2.1 The fiddle tune .................................................................................... 68 3.2.2 Song ..................................................................................................... 73 3.3 Improvisation ................................................................................................... 75 i 3.3.1 Improvisation in contemporary American fiddle music ..................... 76 3.3.2 Improvisation methods for the fiddle .................................................. 78 3.3.3 Glaser's five levels of improvisation ................................................... 79 3.3.4 Lieberman's improvising violin ........................................................... 80 3.3.5 Jazz violin references .......................................................................... 82 3.4 Contemporary Idiomatic American Fiddle Articulation .................................. 83 3.4.1 Slides (Glissandi) ................................................................................ 83 3.4.2 Double stops ........................................................................................ 84 3.4.3 The Blue notes ..................................................................................... 85 3.4.4 Vibrato ................................................................................................. 86 3.5 Bowing ............................................................................................................. 87 3.5.1 A new bow stroke: 'The Chop' ............................................................ 88 3.5.2 What's in a groove? ............................................................................. 90 3.6 Scordatura or Cross-Tuning ............................................................................ 92 3.7 Conclusion ....................................................................................................... 93 CHAPTER 4 METHODOLOGY ................................................................................ 95 4.1 Introduction ...................................................................................................... 95 4.2 Epistemological Foundations ........................................................................... 95 4.3 Research Design .............................................................................................. 97 4.3.1 Methods ............................................................................................... 98 4.4 Considerations on Action Research/Practitioner-Based Research ................ 101 4.5 Interview as Research Strategy ...................................................................... 102 4.5.1 Ethical Issues ..................................................................................... 104 4.6 Selecting Participants: Purposive Sampling .................................................. 105 4.7 Research Strategies not Undertaken .............................................................. 107 4.8 Research Procedures: Data Collection ........................................................... 108 4.9 Data Analysis ................................................................................................. 109 4.9.1 Coding ............................................................................................... 110 4.9.2 Choosing Transana ............................................................................ 112 4.9.3 The coding process in Transana ........................................................ 114 4.10 Memos ......................................................................................................... 115 4.11 Conclusion ................................................................................................... 115 CHAPTER 5 THE VOICE OF THE FIVE-STRING FIDDLER .......................... 116 5.1 Introduction ...................................................................................................
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