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Musical Routes in Rural Ohio, 1800-1929 [Phillips Barry Lecture, October 2000]

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Musical Routes in Rural Ohio, 1800-1929 [Phillips Barry Lecture, October 2000] Digital Kenyon: Research, Scholarship, and Creative Exchange Faculty Publications Sociology Summer 2003 From the Barn to the Bowery and Back Again: Musical Routes in Rural Ohio, 1800-1929 [Phillips Barry Lecture, October 2000] Howard Sacks [email protected] Follow this and additional works at: https://digital.kenyon.edu/sociology_publications Part of the Rural Sociology Commons Recommended Citation "From the Barn to the Bowery and Back Again: Musical Routes in Rural Ohio, 1800-1929." Journal of American Folklore 116.461 (Summer 2003): 314-338. This Article is brought to you for free and open access by the Sociology at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. From the Barn to the Bowery and Back Again: Musical Routes in Rural Ohio, 1800-1929 [Phillips Barry Lecture, October 2000] Author(s): Howard L. Sacks Source: The Journal of American Folklore, Vol. 116, No. 461 (Summer, 2003), pp. 314-338 Published by: University of Illinois Press on behalf of American Folklore Society Stable URL: http://www.jstor.org/stable/4137794 Accessed: 15-06-2015 13:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and American Folklore Society are collaborating with JSTOR to digitize, preserve and extend access to The Journal of American Folklore. http://www.jstor.org This content downloaded from 138.28.20.235 on Mon, 15 Jun 2015 13:50:39 UTC All use subject to JSTOR Terms and Conditions HOWARD L. SACKS From the Barn to the Bowery and BackAgain: MusicalRoutes in RuralOhio, 1800-1929 [PhillipsBarry Lecture, October 2000] Drawing on a communitystudy of musiciansfrom Mount Vernon,Ohio, I examine the interpenetrationof regionaland national musicalcultures by examining the rep- ertoiresand life historiesof Dan Emmett,founder of thefirst professionalblackface minstrel troupe in 1843; the SnowdenFamily Band, AfricanAmerican stringband musicianswho performedin the 1850s through1920; and John Baltzell,a champi- onfiddler of the 1920s.Instead of viewing national trendsas destructiveof regional- ity,I proposethat artistsare (and were) selective,active participants in theprocess of forming repertoireand style. Community-basedmusicians respondto a variety of national musical influenceswhile maintaining a continuingattachment to locality. TRAINED AS A SOCIOLOGIST, I have-like many scholars in recent years-taken up issues that cross traditional disciplinary boundaries. I recognize that the relationship of folkloristics to other disciplines is currently being debated in the field, including in sessions at this AFS meeting. Perhaps some of my remarks will stimulate a conver- sation about this issue. I, for one, am happy that the academy is increasingly open to such interdisciplinary inquiry.At the same time, these endeavors can leave scholars of my generation feeling ratherhomeless. My work does not easily fit into the established subdisciplines of soci- ology,yet I cannot claim to be a professionalfolklorist or historian or ethnomusicologist. So this invitation to speak offers me a welcome bit of legitimacy for my endeavors. As I understand it, the Phillips Barry Lecture carries two expectations: first, that I address issues related to folk music and song; and second, that I convey something about the character of the place in which we have gathered for these AFS meetings in Columbus, Ohio. I accept both tasks readily, having spent the past twenty-five years exploring the musical life of this region, and, in particular, the county that I now call home. Preparing this lecture has afforded me an opportunity to revisit that work and consider what implications I might draw from it. The subject I want to consider is, in the broadest sense, "musical dynamics." I do not use this phrase as a musicologist might, to denote variations in volume or tempo HOWARDL. SACKSis National Endowment for the Humanities Distinguished Professorof Sociology and Associate Provost,Kenyon College, Gambier,Ohio JournalofAmerican Folklore 116(461):314-338 Copyright@ 2003 by the Board of Trusteesof the Universityof Illinois This content downloaded from 138.28.20.235 on Mon, 15 Jun 2015 13:50:39 UTC All use subject to JSTOR Terms and Conditions Sacks,Musical Routes in RuralOhio 315 withina particularmusical piece. Instead, I beginwith the assertionthat music is embeddedin anongoing-and hence dynamic-social process. I am interested in the changingcharacter of musicalcreation, exchange, and meaning in relationto thesocial conditionsin whichmusical activity occurs. Thetitle of thistalk conveys something about my specific focus with respect to this dynamic.The barn, of course,is a potentsymbol of ruralcommunities. Even today, barnsare a prominentfeature of the local landscapejust beyondthe edge of Columbus'surban sprawl. Barns have served as sitesnot only of agriculturalproduc- tionbut of amateurmusic making as well. The Bowery conjures up a differentmusi- calworld: that of NewYork City's old theaterdistrict, where professional musicians mademusic that radiated far beyond the urbancore. In examiningmusical dynam- ics"from the barn to theBowery and back again," I intendto focuson themovement of musicand song between the local and national levels, between amateurs and pro- fessionals,across the colorline, and, finally, between the folkand popular musical spheres. Scholarsin folkloristicsand related fields have long explored the dynamic relation- shipbetween local and national cultures (Manuel 1988; Singer 1972; Redfield 1955), attimes expressing concern over the perceived loss or commodificationof traditions in theface of economicand political pressures toward modernization (Lomax 1968; Marcuse1964). Country music research in particularhas provided detailed portraits of thecomplex interplay between folk music and such factors as technological inno- vationand the business of commercialmusic (Peterson 1997; Wolfe 1997; Porterfield 1992).My own inquiry reflects such well-established themes, which I exploreon dis- tinctiveterrain. I haveposed these musical issues abstractly, but understanding them relies on our interpretationof thehistorical record. Like all human behavior, music making takes shapewithin real social contexts. In my effortsto understandthe characterof folk music,I havelong favored an inductive method that draws theoretical generalizations fromgrounded observations of communitylife. I havechosen here to examinewhat wenton in KnoxCounty, Ohio, from its earliestfrontier settlement around 1800 to theadvent of the GreatDepression. Focusingas I do hereon a singlecommunity, this research is bestunderstood as a casestudy (Ragin and Becker 1992). I findsignificant benefits to thiskind of research. Casestudies enable us to exploremusical relationships as lived experience rather than solelyas the reifiedconcepts and categories of scholars.At theirbest, these studies beginto capturethe points of viewof actors,whether through interview, direct ob- servation,or historical documents. Community studies also offer a holisticapproach. Within a community, the social influences on musical dynamics-family, religion, race, politics, technology-jointly constitute the context for musical activity. The focused investigation of a single locale is common in folkloristics, but in soci- ology community studies have for the most part gone out of favor. The use of a case- study approach invariably raises the question of validity and reliability, challenging our ability to draw broad generalizations from the research.On what basis can I claim that this case is worthy of research?Does what I am about to say about music in a central Ohio community apply to anywhereelse? Because I suggest that there are larger This content downloaded from 138.28.20.235 on Mon, 15 Jun 2015 13:50:39 UTC All use subject to JSTOR Terms and Conditions 316 Journalof AmericanFolklore 116 (2003) lessonsto be learnedfrom this single case, I wantto takeon thismethodological is- sueat the start. KnoxCounty, Ohio, located some fifty miles northeast of Columbus,exhibits a musicalhistory typical of smalltowns and ruralcommunities across the Midwest (Tawa2000; Sonnedecker 1957; Baer 1956). Pioneer settlers danced to fiddlemusic at a varietyof socialgatherings. The stirring music of the fifeand drum accompa- niedthe localmilitia called to battlein theWar of 1812.Community singing was a favoritepastime, encouraged by annualsinging schools and camp meetings. Bythe 1830s,the county seat of MountVernon had begun the transformation from a frontiersettlement to anestablished community (Hill 1881:358-85). Expansion of masscommunication and transportation spurred commercial growth and fostered contactwith America's emerging popular culture. By midcentury, local stores and mail-ordercompanies advertised the saleof guitars,violins, flutes, and massive col- lectionsof sheetmusic in thenewspapers. The most current popular music could be heardfrom the stage of
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