The Doyen of Dixie: a Survey of the Banjo Stylings of Uncle Dave Macon
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East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 8-2018 The oD yen of Dixie: A Survey of the Banjo Stylings of Uncle Dave Macon Corbin F. Hayslett East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Appalachian Studies Commons, Ethnomusicology Commons, Folklore Commons, and the Other American Studies Commons Recommended Citation Hayslett, Corbin F., "The oD yen of Dixie: A Survey of the Banjo Stylings of Uncle Dave Macon" (2018). Electronic Theses and Dissertations. Paper 3438. https://dc.etsu.edu/etd/3438 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Doyen of Dixie: A Survey of the Banjo Stylings of Uncle Dave Macon _____________________ A thesis presented to the faculty of the Department of Appalachian Studies East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Appalachian Studies _____________________ by Corbin Foster Scott Hayslett August 2018 _____________________ Dr. Lee Bidgood, Chair Mr. Roy Andrade Dr. Ted Olson Keywords: Uncle Dave Macon, Banjo, Country Music, Appalachia, Tennessee ABSTRACT The Doyen of Dixie: A Survey of the Banjo Stylings of Uncle Dave Macon by Corbin Hayslett David Harrison Macon (1870-1952) is often memorialized for his showmanship rather than his banjo playing. To compartmentalize such a significant American musician yields a wide gap within scholarship about Macon, country music history and the banjo. Macon’s banjo playing, documented through over two-hundred and fifty recordings made between the 1920s and 1950s, represents an array of cultures, eras, ethnicities, and styles all preserved in the repertoire of one of the most prolific country musicians of the twentieth century. This study reveals Macon’s playing by considering such factors as influences that preceded his professional tenure, identifying elements within his playing from specific stylistic origins, and by technically notating selections from Macon’s canon that represent those influences. To understand the instrumental playing of one of early country music’s most important figures broadens understanding of banjo influences from the nineteenth century which laid the foundation for the instrument’s renaissance in the twentieth century. 2 ACKNOWLEDGEMENTS As with every major completed undertaking, scholarly or otherwise, inspiration and encouragement must be found somewhere to reach the end goal. I am blessed to have received both from many friends and family members. First, I thank the scores of musicians who have taken the time to share their knowledge and talents with me in both large and small ways through the years. Jim Costa, Mike Seeger, “Jumpin” Jim Robertson, Kim and Jimbo Carey, Jim Lloyd, Woody and Marcia McKenzie, Lee Sexton, Elmer Donaldson, Charlie Bradner, Roy Andrade, Matthew Bright, David Wooldridge, Greg Smith, Jeff Todd Titon, Amy Clark, Brian D. McKnight and David Rouse to name a few; thank you all and countless others who have taken the time to guide and influence me. Special thanks are due to Diggs DeRusha whose musical expertise enabled the creation of the musical notations contained within this thesis. I am very grateful to my thesis committee, Roy Andrade and Ted Olson, who were patient and dedicated to this project despite shifts in course. Extra thanks are due to my thesis chair, Lee Bidgood who was willing to dive into the world of Uncle Dave Macon with me and who encouraged me along the way with honesty and sincerity. Without the inspiration and encouragement of my parents I would not have the honor of writing these thanks. To both of my sets of mothers and fathers I am deeply indebted and ever appreciative. To my mom, Nicole Stevens, thank you for encouraging me to listen closely to music and to always sing out in chorus. To my dad, Mike Hayslett, thank you for always bringing music to me and taking me to music. No matter when or where, my dad is always my best promotor and biggest fan. Although this paragraph could never do justice to the hours and expenses freely given to encourage me in music and education by so many, may you all, named and unnamed, know that your efforts are seen and profoundly treasured. 3 TABLE OF CONTENTS Page ABSTRACT .........................................................................................................................2 ACKNOWLEDGEMENTS .................................................................................................3 LIST OF FIGURES .............................................................................................................6 Chapter 1. INTRODUCTION: UNCLE DAVE MACON AND THE BANJO..............................7 Recreational Banjoists .............................................................................................9 Common Banjo Chronology ..................................................................................11 Fluidity of Banjo Players Styles ............................................................................13 Access to Significant Recordings ..........................................................................15 Significant Publications .........................................................................................16 Approaches to Banjo Technique ............................................................................18 Chapter Summary ..................................................................................................20 2. RURAL WHITE INFLUENCES; FIDDLE TUNES AND BANJO RAPPIN’ ..........21 Rural White Music of the Tennessee Cumberland Region ....................................23 Regional Fiddle Contemporaries of Macon ...........................................................25 Clawhammer Style in Macon’s Repertoire ............................................................28 Information on “Love Somebody”.........................................................................30 Information on “Hop High Ladies, The Cakes All Dough” ..................................33 Discussion on “Rye Straw” ....................................................................................36 Commentary on Tuning .........................................................................................38 4 3. RURAL AFRICAN-AMERICAN INFLUENCES; BROKE LEGGED RHYTHM ..41 Racial Distinction on Commercial Recordings......................................................42 Henry Ford and Race in Early Country Music ......................................................46 Race Relations and the Repertoire of Uncle Dave Macon ....................................48 Similarities Between Macon and Nathan Frazier’s Playing ..................................51 Similarities Between Macon and Murph Gribble’s Playing ..................................46 Macon Learning Directly from African-Americans ..............................................60 Macon’s Connection to Charles A. Asbury ...........................................................63 4. URBAN INFLUENCES; PARLOR, STAGE, AND SHOW PIECES........................65 Misconception of Banjo Isolation ..........................................................................65 Macon’s Piano and Guitar Playing ........................................................................66 Initial Urban Influences on Macon ........................................................................70 Country Banjoists and the Classic Banjo Phenomena ...........................................72 Classic Banjo in Macon’s Repertoire ....................................................................75 5. IMPACTS OF UNCLE DAVE; STILL BROADCASTING OUT .............................79 Impact of Macon’s Playing in Post-World War II Era ..........................................80 Connecting Macon’s Playing and Bluegrass Banjo ...............................................86 Macon’s Widespread Impact .................................................................................88 Macon in the Repertoire of Clyde Davenport ........................................................90 Macon in Other Rural Players’ Repertoires ...........................................................94 Future Analyses .....................................................................................................95 BIBLIOGRAPHY ..............................................................................................................99 VITA ................................................................................................................................105 5 LIST OF FIGURES Figure Page 1. “Love Somebody” ..............................................................................................................32 2. “Hop High Ladies, The Cakes All Dough” .......................................................................35 3. “Rye Straw” .......................................................................................................................37 4. “Rock About My Sara Jane” ..............................................................................................59 5. “Keep My Skillet Good and Greasy”.................................................................................61