erican South

"rhythm and blues," and the gospel style of the Country music has become America's old shape-note publishing houses became a favorite. Its styles and themes seem to appeal to polished and dynamic urban gospel. American much of the nation's adult White population. youth were increasingly receptive to musical This trend may reflect a "southernization of the alternatives of which their parents had been North," but it also suggests the musics and the unaware, or to which they were opposed. cultures that created them are becoming part of Elvis Presley was a major beneficiary of these the national mainstream. But country transformations. His dynamic and sensual style musicians are still overwhelmingly from the combined elements from virtually every form South, and their lyrics often self-consciously of popular music available in the postwar reflect Southern preoccupations and longings. years. He and other rockabilly musicians such Southerners export musical treasures to the as Buddy Holly, Jerry Lee Lewis, Carl Perkins, world and absorb much in return. Their styles and the Everly Brothers unleashed the most may no longer be as regionally distinctive as important musical revolution that America had many would like, but how could it be other­ experienced since the blossoming of jazz earlier wise when the folk cultures that produced in the century. Together with rhythm and these traditions are undergoing a similar trans­ blues performers such as Fats Domino, Little formation? Happily, many of the older tradi­ Richard, and Chuck Berry, they carried the tions- such as old-time fiddling and string musical sounds of the Southern working class band music, clog dancing, and Sacred Harp deep into American popular culture. singing - are preserved and revitalized by increasing numbers of young people. New Orleans has seen Music &the U.S. Civil Rights Movement a revitalization of the brass Jacquelin C. Peters We shall overcome Suggested Listening band as young musicians We shall overcome rediscover it, and scores of Song and eloquent oratory are integral We shall overcome someday. Been in the Storm So Long. Cajun youth have taken up to African-American religious Deep in my heart, I do believe Smithsonian Folkways SF 40031. the accordion and the We shall overcome someday. Louisiana French music of expression, and they were pervasive, Sing for Freedom: The Story of the Civil spiritually sustaining elements of the their ancestors. Techniques such as call and response, Rights Movement through its Songs. U.S. Civil Rights Movement. In Many performers preserve "worrying the line" (using melismatic Smithsonian Folkways SF 40032. emotionally tense or physically the older traditions of South- vocal embellishments), or "lining out" threatening situations, the standard of Voices of the Civil Rights Movement: ern rural music: singers like (the song leader's singing or reciting nonviolence and a serene attitude Black American Freedom Songs, Austin-based Don Walser, the next line of verse before the end of were maintained through song, 7960-7965. Smithsonian Collection who yodels and sings in the the previous one) are other retentions prayer, and words of encouragement. of Recordings R023. old-time hanky-tonk style; from traditional African-American Massive church rallies, picketing Ralph Stanley, the banjo song. Wade in the Water, Vols. 7-4. player and tenor singer from demonstrations, and even jail houses Smithsonian Folkways SF 40072/75. echoed with the sounds of resolve, Grounded in the tradition of Black McClure, Virginia, who pre- declaring, "Just like a tree standing by congregational song, choral quartets serves the haunting, pinch- the water I We shall not be moved." and ensembles transmitted the jacquelin Celeste Peters is a throat style of Appalachian Movement's musical message to consultant scholar for the D.C. singing; and Doc Watson, the Sacred African-American music audiences far from the locale of the Community Humanities Coun- North Carolina wizard of the provided the basis for many freedom struggle. The Montgomery Gospel Trio, cil. She compiled the premier flat-top guitar. And, thank songs. One such spiritual, "I Will Be All the American Baptist Theological edition of the Directory of God, Bill Monroe, the Ken- Right," has evolved to become the Seminary Quartet (also known as the African American Folklorists tucky musician whose sky- universal anthem of protest, "We Shall Nashville Quartet), the Congress of for the Center for Folklife high tenor singing and Overcome." Racial Equality (CORE) Singers, and the Programs & Cultural Studies. powerful mandolin style SNCC Freedom Singers gave perfor- defined the art of bluegrass mances that encouraged the world to music performance, still lives sit up and take notice. and entertains. 60 Festival of American Folklife 1996