University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-6-2016 Songwriting as Inquiry and Action: Emotion, Narrative Identity, and Authenticity in Folk Music Culture Maggie Colleen Cobb University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Social Psychology Commons, and the Sociology Commons Scholar Commons Citation Cobb, Maggie Colleen, "Songwriting as Inquiry and Action: Emotion, Narrative Identity, and Authenticity in Folk Music Culture" (2016). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6208 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Songwriting as Inquiry and Action: Emotion, Narrative Identity, and Authenticity in Folk Music Culture by Maggie Colleen Cobb A dissertation submitted in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Sociology College of Arts and Sciences University of South Florida Major Professor: Margarethe Kusenbach, Ph.D. Donileen Loseke, Ph.D. Shawn Bingham, Ph.D. Andrew Berish, Ph.D. Date of Approval: June 10, 2016 Keywords: Festival, Creativity, Social Change, Lived Experience, Embodiment Copyright © 2016, Maggie C. Cobb DEDICATION This dissertation is lovingly dedicated to my grandmother and guardian angel, Betty Jane Walker Gibbons. Thank you for everything. We miss you so. ACKNOWLEDGEMENTS Writing a dissertation is lonely and isolating business. It tends to “get on you,” as a friend of mine often says, and there have been many times where I was quite certain that I was terribly alone in it all. But it seems so abundantly clear to me —now that the worst is over, of course— that I was never actually alone. In fact, it was (and still is) quite the opposite. I have been consistently supported, guided, encouraged, and loved by a great many people, some of whom have made this dissertation possible, and all of whom have changed my life in significant ways. I owe a tremendous amount of thanks to my dissertation committee—Dr. Margarethe Kusenbach, Dr. Donileen Loseke, Dr. Shawn Bingham, and Dr. Andrew Berish—whose collective wisdom and patience can be seen from space. Because of them, I now see the world as a story, one brimming with emotions, art, and music; I am a better sociologist, teacher, and writer; I am passionate, rigorous, critical, and strong; I keep moving forward. I now understand what it means to be an exceptional mentor, which extends beyond the arduous character of the academy and into the realm of kindness and understanding—warm hugs, open doors, boxes of Kleenex, and the occasional glass of wine. In addition to my committee, I am grateful for the knowledge, inspiration, and encouragement that I have received from Dr. Sara Crawley, Dr. Maralee Mayberry, and Dr. Carolyn Ellis, all of whom have made a remarkable impact on my life, on my future, and in my scholarship. It has been a privilege to be a member of the PhD program in the department of sociology at the University of South Florida. I am nothing short of honored to have worked with such outstanding scholars and people. Put simply, this dissertation would not exist without my parents, Bill Cobb and Denise Gibbons-Cobb, who, throughout my life, have made everything possible. Without them, there would be no music, no songwriting, no college, no sociology, no graduate school, no…anything. There would be no “me.” They have relentlessly, wholeheartedly, and patiently supported and encouraged me in every single way and at every single turn. I am infinitely and eternally grateful to them for their unconditional love, for giving me roots and wings, and for never giving up on me, even during my most intolerable years. Lori Holyfield—who led me to sociology, to the guitar, to musicians’ festivals, and to an enduring love and friendship that I will hold sacred for the rest of my life—has also made this dissertation possible. Without exaggeration, I can honestly say that I would not be who I am today, much less love what I love and do what I do, without her. I am also indebted to my best friend and kindred spirit, Ashleigh Elain McKinzie, who has been by my side since our first day in graduate school. Hand in hand, she has made this journey with me, she has kept me sane, and she has brought me love, joy, and music. It is more than difficult to imagine my life, much less graduate school, without her vibrant soul and friendship to keep me going. A “thank you” falls short when it comes to my grandparents, Betty and Fay Gibbons. Beginning at age six, my grandmother would hold my hand and walk me across the street to piano lessons, a beloved ritual that concluded when I was old enough to drive from my parents’ house. Because of her, I know and love music. Because of them both, I know and love family. Perhaps in my darkest of “dissertating” hours, I persisted because they believed in me, because they were so very proud of me. They still are. Although my grandmother is no longer here in person, she is with me in spirit; still caring, still loving, still proud. This dissertation is dedicated to her and the never ending impact she has made, and continues to make, on my life. There are so many others to whom I owe a colossal “thank you”: To Steve Fisher for his incredible songs, for enduring countless late-night “can-I-read-you-this?” phone calls, for his life-long friendship, and for teaching me the meaning of a bigger love. To Skyler Lauderdale for all the nights spent dancing in the kitchen and playing music on the lanai, for reminding me about friendship and renewal, for talking and not talking “shop,” and for consistently being there to celebrate or to grieve, but always to sing. To Zachary Bowlin for nearly a decade of unequivocal love and companionship, for persisting through seven years of second-hand graduate school, and for making sure that I was always in a position to freely pursue my dreams. To Jessie Altice, who, at the eleventh hour, kept me afloat in all aspects of my life and continues to do so; to Amanda Young for 12 years of truly unwavering, once-in-a-lifetime friendship and support; to Rick Simmons for staying up all night and reminding me to play music; To Sharon Bradley for teaching me what it means to work hard, to persevere, to quite literally “get back on the horse,” and for providing me with some of the most rewarding moments and fondest memories of my life; to Katie Cooper for innumerable “prayer meetings;” and to my gals at USF for always having my back. Lastly, I would like to thank my families in music at Kerrville and Winfield, who welcomed me into their “homes,” so graciously shared their stories and songs, and so lovingly listened to my own. They have shown me the power of music, and, as a result, I have them to thank for teaching me most everything written herein. I have always said that there are some things that can only be expressed through song. My gratitude for all those in my life who have made this dissertation possible is certainly one of them. Without a song, all I can offer is….Thank you. TABLE OF CONTENTS List of Tables .................................................................................................................... iv List of Figures ......................................................................................................................v Abstract .............................................................................................................................. vi Chapter One: Introduction ...................................................................................................1 Permissions to Use Previously Published Materials ..............................................13 Chapter Two: Literature Review .......................................................................................14 Culture and Folk Music .........................................................................................14 The Cultural “Work” of Music and Narrative: Identity and Social Change ..........19 Identity ......................................................................................................20 Music ............................................................................................20 Narrative .......................................................................................22 Social Change ............................................................................................24 Music ............................................................................................24 Narrative .......................................................................................25 Summary ....................................................................................................27 The Sociology of Emotions ...................................................................................27 Emotions and Identity ................................................................................29 Emotions and Narrative .............................................................................31 Emotions as Lived and Embodied .............................................................33 Summary ....................................................................................................36 Emotions