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A Circle of Friends: Informal Musicking Within an Old-Time Music Community Trevor S

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A Circle of Friends: Informal Musicking Within an Old-Time Music Community Trevor S Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 A Circle of Friends: Informal Musicking within an Old-Time Music Community Trevor S. Harvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A CIRCLE OF FRIENDS: INFORMAL MUSICKING WITHIN AN OLD-TIME MUSIC COMMUNITY By TREVOR S. HARVEY A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2006 Copyright © 2006 Trevor S. Harvey All Rights Reserved The members of the Committee approve the thesis of Trevor S. Harvey defended on Friday, March 24, 2006. _________________________________________ Michael B. Bakan Professor Directing Thesis _________________________________________ Frank Gunderson Committee Member _________________________________________ Amy Koehlinger Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii For Quinter and Annika and all the musicking you do iii ACKNOWLEDGMENTS This thesis is the result of the efforts of many people who (often unknowingly) have inspired and helped me, and have taught me about what it means to music. In particular, I am grateful to Kate, Gus, Tom, Helen, Gary, Rose, Charles, and other participants of the Tallahassee-based old- time jam sessions in which I have taken part over the past two years. Much of what has gone into this thesis comes from the great deal I have learned from my friends, colleagues, and mentors at Florida State University. The instruction I have received from the Musicology faculty in general, and my committee in particular, has been crucial to my development as a scholar and my ability to undertake this thesis topic. I am grateful to Amy Koehlinger, who has been very generous with her encouragement; Frank Gunderson, whose enthusiasm always resulted in new understandings; and Michael Bakan, my advisor, who continually motivated and challenged me, at times working harder than I. Additionally, I would like to thank my fellow student colleagues, particularly to Robbie Fry, Jason McCoy, and Fransisco Lara who have each given of their time to endless discussions and thoughtful feedback on my writing. Finally, I am grateful to my family for all their love and encouragement. My parents, Jim and Marva, have been encouraging, as always, of my work. Of course, this project would never have been possible without the full and constant support of my devoted wife, Sara. Her patience, encouragement, and understanding helped carry me through moments of frustration and inspired me at every step. iv TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................vii CD TRACK LIST.............................................................................................................viii ABSTRACT .......................................................................................................................ix CHAPTER 1: INTRODUCTION.....................................................................................1 Thesis Statement ..........................................................................................................3 Review of Literature....................................................................................................4 Old-Time Music.......................................................................................................4 Informal Musical Communities ...............................................................................5 Cross-cultural Studies of Informal Music-making.................................................. 7 Theoretical Approach..................................................................................................8 Ritual Theory and Musicking ..................................................................................9 Informal Musicking as Ritual ................................................................................10 Methodology ...............................................................................................................12 Structure of Thesis.....................................................................................................14 CHAPTER 2: INFORMAL MUSICKING IN A TALLAHASSEE OLD-TIME MUSICAL COMMUNITY .......................................................................................16 The Value of Informality...........................................................................................19 “That's good enough to go on stage” .....................................................................20 “It ain't old-time music if it's too good”................................................................. 23 Participation and Familiarity ...................................................................................24 “Ever hear of ‘Ragtime Annie?’” ..........................................................................24 “I like the slow jams”.............................................................................................29 “I never quite got the…feel to it” ..........................................................................34 Music Theory in Practice: Performance and Embodiment ...................................36 “I don't…understand how it works” ......................................................................37 “Just when I was startin' to get it!” ........................................................................40 CHAPTER 3: THE PROCESS OF INFORMAL MUSICKING................................43 v (Re)creating Ritual ....................................................................................................44 The Process of Informal Musicking .........................................................................45 “Pull up a chair and join in”...................................................................................46 “It's the process” ....................................................................................................48 “What key is it in?”................................................................................................49 CHAPTER 4: THE ‘TALLAHASSEE OLD-TIME JAM’ AS AN IDEALIZED COMMUNITY ...........................................................................................................53 Communication and Community .............................................................................54 Musical and Social Performances ............................................................................57 The Play of Informal Musicking...............................................................................57 Embedding Meaning..................................................................................................59 APPENDIX A: HUMAN SUBJECTS APPROVAL FORMS.......................................... 61 REFERENCES ..................................................................................................................64 BIOGRAPHICAL SKETCH .............................................................................................71 vi LIST OF FIGURES Figure 1: Participants at the Tallahassee old-time jam...................................................... 19 Figure 2: “What the heck is old-time music?” cartoon...................................................... 24 Figure 3: Kate playing the mountain dulcimer ..................................................................31 Figure 4: “There ain't no notes” T-shirt.............................................................................36 Figure 5: Charles (mandolin) and Gary (dulcimer)........................................................... 46 Figure 6: Gus playing the banjo.........................................................................................48 Figure 7: Gary playing the mountain dulcimer..................................................................59 vii CD TRACK LIST Track 1: “Yellow Rose of Texas”......................................................................................18 Track 2: “Angelina Baker” ................................................................................................20 Track 3: “Colored Aristocracy”.........................................................................................25 Track 4: “Colored Aristocracy”.........................................................................................33 Track 5: “Southwind” ........................................................................................................34 Track 6: “Red-haired Boy” ................................................................................................35 Track 7: “Midnight on the Water”.....................................................................................38 Track 8: “Golden Slippers”................................................................................................40 Track 9: “Waterbound”......................................................................................................50 Track 10: “Waterbound”....................................................................................................51 Track 11: “Happy Days”....................................................................................................51 viii ABSTRACT In this thesis, I explore social and musical processes
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