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Chapter 9: Dead Presidents: “Charles Guiteau”, “White House Blues”, and the Histories Of
Chapter 9: Dead Presidents: “Charles Guiteau”, “White House Blues”, and the Histories of Smithville Thomas Ruys Smith This is an attempt to understand what kind of history lesson we receive when we listen to two songs – Kelly Harrell’s “Charles Guiteau” (1927) and Charlie Poole and the North Carolina Ramblers’ “White House Blues” (1926) – in the context of Harry Smith’s Anthology of American Folk Music. It is also an attempt to think about the ways that the Anthology engages with the American past. For when we listen to the second half of the first volume of this collection, we are pulled into a narrative of modern American history. Disc one has already taken the listener on a journey through time and space: from the opening Child Ballads through to “Omie Wise”, “Peg and Awl” and “My Name is John Johanna”, we have moved from Old World to New, tracing the folkways of American colonization. When we reach “Bandit Cole the Younger” on the opening of disc two, however, we find ourselves in notably different territory. The specificity of event, time and place that this song of Jesse James gives the listener makes it clear that we are in Gilded Age America. It is, with no little irony, 1876, the year of America’s centenary. What follows, then, can be understood as a roughly chronological journey through American history at a particularly pivotal moment: the period of approximately fifty years separating the James Gang from the performers and performances that make up the Anthology, a half-century that might also be seen as the crucible of modern America. -
Old Time Banjo
|--Compilations | |--Banjer Days | | |--01 Rippling Waters | | |--02 Johnny Don't Get Drunk | | |--03 Hand Me down My Old Suitcase | | |--04 Moonshiner | | |--05 Pass Around the Bottle | | |--06 Florida Blues | | |--07 Cuckoo | | |--08 Dixie Darling | | |--09 I Need a Prayer of Those I Love | | |--10 Waiting for the Robert E Lee | | |--11 Dead March | | |--12 Shady Grove | | |--13 Stay Out of Town | | |--14 I've Been Here a Long Long Time | | |--15 Rolling in My Sweet Baby's Arms | | |--16 Walking in the Parlour | | |--17 Rye Whiskey | | |--18 Little Stream of Whiskey (the dying Hobo) | | |--19 Old Joe Clark | | |--20 Sourwood Mountain | | |--21 Bonnie Blue Eyes | | |--22 Bonnie Prince Charlie | | |--23 Snake Chapman's Tune | | |--24 Rock Andy | | |--25 I'll go Home to My Honey | | `--banjer days | |--Banjo Babes | | |--Banjo Babes 1 | | | |--01 Little Orchid | | | |--02 When I Go To West Virginia | | | |--03 Precious Days | | | |--04 Georgia Buck | | | |--05 Boatman | | | |--06 Rappin Shady Grove | | | |--07 See That My Grave Is Kept Clean | | | |--08 Willie Moore | | | |--09 Greasy Coat | | | |--10 I Love My Honey | | | |--11 High On A Mountain | | | |--12 Maggie May | | | `--13 Banjo Jokes Over Pickin Chicken | | |--Banjo Babes 2 | | | |--01 Hammer Down Girlfriend | | | |--02 Goin' 'Round This World | | | |--03 Down to the Door:Lost Girl | | | |--04 Time to Swim | | | |--05 Chilly Winds | | | |--06 My Drug | | | |--07 Ill Get It Myself | | | |--08 Birdie on the Wire | | | |--09 Trouble on My Mind | | | |--10 Memories of Rain | | | |--12 -
Vernon Dalhart: His Rural Roots and the Beginnings of Commercial Country Music*
VERNON DALHART: HIS RURAL ROOTS AND THE BEGINNINGS OF COMMERCIAL COUNTRY MUSIC* by Walter Darrell Haden English Department University of Tennessee Martin, Tennessee Most country music history fans know of the North American folk songs which launched Vernon Dalhart as the first country music artist of national importance. The Wreck of the Old 97 and The Prisoner's Song were also the beginnings of the commercial country music industry in this country. Before Dalhart recorded these songs, there had been, it is true, an effort to market some country music: Henry Whitter, Riley Puckett, Kelly Harrell, and other country vocalists had begun or were beginning their record ing careers. But there had been no country hit songs and no country singing star to record them. Fiddlers like John Carson and other country instrumentalists had recorded, it is true, and some of these musicians had thrown in a vocal chorus or perhaps even a stanza or so of song lyrics. But before Dalhart there had been no country recording of national importance and certainly no hit. Today knowledge able record collectors and musicologists are making the truth increasingly well known that Dalhart's pairing of The Prisoner's Song with The wreck of the Old 97 on more than 30 different labels sold over 25,000,000 copies. Victor 19427 alone sold close to 6,000,000 copies of this famous pairing of hits. (1) In 1924, Dalhart, dropping his current "pop" music career to take up country music, even more native to his upbringing, stepped before an accoustical recording horn at Thomas A. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
Bluegrass/Old Time Overlap Tunes Here’S a List of Some Instrumentals Found in Both Old Time and Bluegrass Repertoires
Pegram Jam FIDDLE TUNE CHORD CHART BOOK When you learn an old time tune, you make a friend for life. A collection of accompanist charts for 450+ Old Time/Bluegrass/Celtic tunes LARGE TYPE FORMAT • INTERMEDIATE LEVEL FREE AUDIO TUNE ARCHIVE @ pegramjam.com Version 48 | August 2013 © Kirk Pickering & Susie Coleman Pegram Jam FIDDLE TUNE CHORD CHART BOOK The Pegram Jam is just that... a jam. It’s a casual, loosely organized session with a collective goal: to learn, teach and practice Old Time fiddle tunes. It’s a pretty popular place for tune lovers and we invite you to join the party via our free online audio library at PegramJam.com. We created the Pegram Jam Chord Chart Book to help rhythm and bass accompanists remember appropriate chord changes to the tunes we play at our jams. A tune can be presented at the jam by any musician who attends; our charted arrangement is generally based on that version. We’ve charted almost every song brought to the circle and added the tune to our collection. Though we strive to be accurate, you will find errors and discrepancies in opinion; however, we continually work through the songs and update the book. Please check our website for periodic updates. FAQ: Frequently Asked Questions .............................. 4 How to read our charts ................................................. 5 Alphabetical list of tunes ............................................. 6 Tunes by key .................................................................. 13 Newest additions ......................................................... -
Medieval Ballads Instructor
Topic: Medieval Ballads Instructor: Mrs. Tincher Date: 26 Sept. 2011 Age Level: 17 to 18 yrs. Old English Level: English IV and Honors English IV Sources “The Ballad.” Grinnell College. Erik Simpson. 18 September 2011. Web. “Early Child Ballads.” PBM. Greg Lindahl. 18 September 2011. Web. Prentice Hall Literature: The British Tradition. Penguin Edition. 1 vol. New Jersey: Pearson Education, Inc, 2007. Print. Rationale The NCSCoS requires that we explore British literature, and medieval ballads were an important part of the evolution of British literature. Also, studying ballads gives us, as readers, insight into the lives of those living in the medieval time period much like studying music from our own culture gives us insight into the workings of our own society. Focus & Review Journal: One hundred years from now a historian is given songs from today to analyze and learn how we lived as a society. What kinds of songs would they look at? What assumptions do you think the historian would make about our society? Do you think that the songs would give them a good idea of what life is like today? Objectives Students will understand the history and composition of ballads and how they relate to medieval history. NCSCoS Standards 1.02 Respond to texts so that the audience will: make connections between the learner's life and the text reflect on how cultural or historical perspectives may have influenced these responses 2.02 Analyze general principles at work in life and literature by: discovering and defining principles at work in personal experience and in literature. -
Bluegrass, Oldtime - Misc
Contents Updated 11/22/19 -Bluegrass, Oldtime - Misc. -Celtic, & Etc. Bluegrass, Oldtime Angelina Baker Ashland Breakdown Ashokan Farewell Avalon Quickstep Big Sandy River Baker’s Breakdown Beaumont Rag Bill Cheatham Billy In The Lowground Bitter Creek BlackBerry Blossom Bluegrass In The Backwoods Brown County Breakdown Cacklin’ Hen Caroll County Blues Cherokee Shuffle Colored Aristocracy Come Hither To Go Yonder Crazy Creek Cross-Eyed Fiddler Dead March Devils Dream Doc Harris The Fisherman Dry and Dusty East Tennessee Blues Flop Eared Mule Forky Deer Golden Fiddle Waltz Grassy Fiddle Blues Grey Eagle High Dad In The Morning Indian Killed A Woodcock Jenny Lind Jerusalem Ridge Johnny The Blacksmith Kentucky Mandolin Kitchen Girl Leather Britches LiBerty Little RabBit Lonesome Moonlight Waltz Lost Indian Marching Through Gerogia Midnight On The water Mineola Rag Mossy Cow Napoleon Crossing The Rockies Old EBenezer Scrooge (The) One I Love Is Gone Paddy On The Turnpike Ragtime Annie Ragtime Bear Redwing Sally Goodin Sandy River Belle Salt Creek Salty Sandy River Belle Santa Anna’s Retreat Saturday Night Rag Say Old Man, Can You Play The Fiddle? Sinking Creek Snowflake Reel Snowshoes Southern Flavor Stony Creek Stone’s Rag Susannah Gal Tater Patch Tennessee Blues Tennessee Dream Tennessee Wagoner Valley Forge Washington County Whiskey Before Breakfast White Horse Breakdown Misc. Sweet Georgia Brown Goofus Celtic & Etc. After The Battle Of Aughrim Banish Misfortune (The) Banshee BlackBerry Quadrille Boda Polska Bolt the Door (The) Boyne Hunt -
DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings
DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings Selected from the Archive of Folk Culture. INSTITUTION Library of Congress, Washington, DC. Motion Picture, Broadcasting, and Recorded Sound Div. PUB DATE 89 NOTE 59p. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS American Indians; Audiodisks; Audiotape Cassettes; *Folk Culture; Foreign Countries; Music; *Songs IDENTIFIERS Bahamas; Black Folk Music; Brazil; *Folk Music; *Folktales; Mexico; Morocco; Puerto Rico; Venezuela ABSTRACT This catalog of sound recordings covers the broad range of folk music and folk tales in the United States, Central and South America, the Caribbean, and Morocco. Among the recordings in the catalog are recordings of Afro-Bahain religious songs from Brazil, songs and ballads of the anthracite miners (Pennsylvania), Anglo-American ballads, songs of the Sioux, songs of labor and livelihood, and animal tales told in the Gullah dialect (Georgia). A total of 83 items are offered for sale and information on current sound formats and availability is included. (PPB) Reproductions supplied by EMS are the best that can be made from the original document. SELECTED FROM THE ARCHIVE OF FOLK CULTURE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION LIBRARY OF CONGRESS WASHINGTON. D.C. 20540 U S DEPARTMENT OF EDUCATION Office of Educational Research and improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERICI hisdocument has been reproduced as received from the person or organization originating it C Minor changes have been made to improve reproduction duality Pointsof view or opinions stated in thisdccu- ment do not necessarily represent officral OERI motion or policy AM. -
Learning Lineage and the Problem of Authenticity in Ozark Folk Music
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2020 Learning Lineage And The Problem Of Authenticity In Ozark Folk Music Kevin Lyle Tharp Follow this and additional works at: https://egrove.olemiss.edu/etd Recommended Citation Tharp, Kevin Lyle, "Learning Lineage And The Problem Of Authenticity In Ozark Folk Music" (2020). Electronic Theses and Dissertations. 1829. https://egrove.olemiss.edu/etd/1829 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. LEARNING LINEAGE AND THE PROBLEM OF AUTHENTICITY IN OZARK FOLK MUSIC A Dissertation presented in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of Music The University of Mississippi by KEVIN L. THARP May 2020 Copyright Kevin L. Tharp 2020 ALL RIGHTS RESERVED ABSTRACT Thorough examination of the existing research and the content of ballad and folk song collections reveals a lack of information regarding the methods by which folk musicians learn the music they perform. The centuries-old practice of folk song and ballad performance is well- documented. Many Child ballads and other folk songs have been passed down through the generations. Oral tradition is the principal method of transmission in Ozark folk music. The variants this method produces are considered evidence of authenticity. Although alteration is a distinguishing characteristic of songs passed down in the oral tradition, many ballad variants have persisted in the folk record for great lengths of time without being altered beyond recognition. -
The Creighton-Senior Collaboration, 1932-51
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Athabasca University Library Institutional Repository The Creighton-Senior Collaboration, 1932-51 The arrival of Doreen Senior in Halifax in the book, and she was looking for a new collaborator summer of 1932 was a fortuitous event for Canadian who could note the melodies while she wrote down folksong collecting. Doreen, a friend and disciple of the words. In her autobiography, A Life in Folklore, Maud Karpeles, was a folk and country dance she recalled her first meeting with Doreen in the instructor, trained by the English Folk Dance Society, following terms: who anticipated a career as a music teacher making good use of Cecil Sharp's published collections of For years the Nova Scotia Summer School had Folk Songs for Schools. She was aware that Maud been bringing interesting people here, and one day I was invited to meet a new teacher, Miss had recently undertaken two successful collecting Doreen Senior of the English Folk Song and trips to Newfoundland (in 1929 and 1930), and was Dance Society. She liked people and they liked curious to see if Nova Scotia might similarly afford her to such an extent that whenever I met one of interesting variants of old English folksongs and her old summer school students in later years, ballads, or even songs that had crossed the Atlantic they would always ask about her. She was a and subsequently disappeared in their more urban and musician with the gift of perfect pitch and she industrialized land of origin. -
Kentucky Humanities Council Catalog 2005-2006 Kentucky Library Research Collections Western Kentucky University, [email protected]
Western Kentucky University TopSCHOLAR® Kentucky Humanities Council Catalog Kentucky Library - Serials 2005 Kentucky Humanities Council Catalog 2005-2006 Kentucky Library Research Collections Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/ky_hum_council_cat Part of the Public History Commons, and the United States History Commons Recommended Citation Kentucky Library Research Collections, "Kentucky Humanities Council Catalog 2005-2006" (2005). Kentucky Humanities Council Catalog. Paper 22. https://digitalcommons.wku.edu/ky_hum_council_cat/22 This Magazine is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Kentucky Humanities Council Catalog by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. o -N. > Ruth Hanly Catherine \v Booe Connor S-S Vrf Price Hollowell / M Dr. Thomas .Walker i -• -i 2ft;- Whole Humanities Catalog August 1, 2005-July 31, 2006 O ur twentieth-anniversary Whole Humanities Catalog is the biggest yet, offering more than ever before in every category: Featured Speakers (26), Kentucky Writers (8), and Kentucky Chautauqua characters (16)! We thank you for two decades ofunstinting support. We couldn't have done it without you, and we trust you will enjoy reviewing the dozens of great programs our presenters are ready to bring to your community. Contents Credits 1 Speakers Bureau 2 Featured Speakers 3 Kentucky Writers 16 More Speakers 20 Speakers Bureau Travel Map 21 Kentucky Chautauqua 22 Book Discussions 30 Application Instructions 32 Application Forms Inside Back Cover www.kyhumanities.org You'll find this catalog and much more on our web sice. The cover: To learn more about our new Chautauqua characters, turn to page 22. -
Old Time Music at Clarence Ashley's”--Doc Watson, Clarence Ashley, Et.Al
“Old Time Music at Clarence Ashley's”--Doc Watson, Clarence Ashley, et.al. (1960-1962) Added to the National Registry: 2012 Essay by Steve Kaufman (guest post)* Album cover In 1960, Smithsonian historian Ralph Rinzler convinced the virtually unknown Clarence “Tom” Ashley, Doc Watson, Gather Carlton, Jack Johnson, Fred Price and Clint Howard to walk into the studio and record their mountain heritage music. Ralph Rinzler met Clarence at an Old Time Fiddler’s Convention. Ashley hadn’t played banjo for many years, but Ralph convinced him to pick it back up again and record it. Doc Watson didn’t own an acoustic guitar at the time. He had been playing in a rockabilly band playing square dances and the like. Doc honed his instrumental skills playing fiddle tunes on the guitar. Doc told me that the square dance bands he played in did not have a fiddle player so he played the tune as the fiddle would. This combination of Clarence on banjo and Doc on guitar and banjo, along with Fred Price and Gaither Carlton on fiddle, make an old-time band that is authentic and powerful. Seventeen songs make up this collection, of which T. Clarence Ashley wrote nine. It seems odd that he would credit the song as being by T.C. Ashley. He would credit his singing as Tom Ashley. Doc would credit him as Clarence throughout Doc’s long career. I’ve heard Doc mention Clarence on many occasions. These are the original tracks to this classic “Old Time” recording. It was recorded in Shouns, Tennessee; Saltville, Virginia; and Deep Gap, North Carolina.