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Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
Is This Jazz?: Newport Jazz Fest '18 Review,EDM Event Preview: Tight Crew's Block Rockin Beats,Getting Down and Dirty At
Jazz Insights: Bonnie Mann Three years ago we lost one of jazz’s popular cabaret singers. Eighty-five year old Bonnie Mann (Boncorsi Wotherspoon) was born in Pawtucket. Known for her big- band style singing she regularly could be found throughout Rhode Island with many of the great performing jazz and dance groups. Bonnie sang at the old King & Queens’ Restaurant on Mineral Spring Avenue with, at the time, the young Mike Renzi and others. Her beauty, style and professional voice continually captured local audiences. Her renditions of early American Song Book compositions became favorites among her loyal following. She was a constant worker for the Providence Musician’s Union and was known by musicians state-wide. Her friends numbered in the hundreds. In her later years she performed quite regularly with the late Mac Chrupcala and his several jazz groups. Bonnie kept singing with her heart to her very end; she died in January 2015. The jazz industry in Rhode Island will not forget the late Bonnie Mann.and her dynamic jazz singing voice. Ball Drop Beat Drop: More fun than should be allowed Much like the extra dry champagne served on the holiday, New Year’s Eve traditions can be a bit stale. Interested in switching it up? Then head to Platforms Dance Club in Providence on December 31 to ring in the new year at Tight Crew (TC)’s Neon Masquerade Ball! You may want to buy your tickets now, because this limited-ticket event will feature 16 DJs from all over the US, fire performances, a heated outdoor tent and a game room! So pick out a cute outfit and get plenty of rest, because the event runs from 6pm to 3am. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas -
2009 Carrboro Music Festival Planning Committee Coordinator: Gerry Williams * Logan A
CArrboro MusFest valc Provided as a courtesy of The Carrboro Citizen Carrboro’s locally owned and operated Community Newspaper CArrboro Proud sponsor of the ArtsCenter-West End Theatre Stage… Mus c Carrboro native… Fest val Country Punk drummer Welcome to the twelfth annual back in the day… Carrboro Music Festival! Take a walk around town on Sunday, September 20 and enjoy Your homegrown expert a day jam-packed full of music. You can hear Hip-Hop, Country, Blues, Rock, Celtic, World Music, Bluegrass and Jazz- and all in Carrboro, Chapel Hill within the four or five blocks of downtown Carrboro. This is one and Durham Real Estate… heck of a small town! Thanks to the Mayor and the Board of Alderman for their continuing support and the various Carrboro Departments who make this possible: Recreation and Parks, Public Works, and the Police and Fire Departments. Gerry Williams 2009 Carrboro Music Festival Planning Committee Coordinator: Gerry Williams * Logan A. Carter Carrboro Recreation & Parks: Kim Andrews, Dennis Joines Volunteers: Charlie Berry, Catherine DeVine,* Tony Galiani, Michael Gowan, Jackie Your Friend in Real Estate Helvey,* Germane James, Meg McGurk, Ellen Perry, and Janet Place.* 919-418-4694 www.logancarter.com *Carrboro Music Festival founders All photos by AvA Barlow FR 9/25 NEEDTOBREATHE W/CROWFIELD AND GREEN RIVER ORDINANCE**($12/$14) SA 9/26 AN EVENING WITH THE MINUS 5, THE BASEBALL PROJECT AND THE STEVE WYNN IV PERFORMED BY SCOTT MCCAUGHEY, PETER BUCK, STEVE WYNN AND LINDA PITMON** FR 9/18 WHO’S BAD? WE 9/30 RA RA RIOT**($12/$14) -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
New Harmonies
Dear Teacher: Welcome to New Harmonies: Celebrating American Roots Music, an exhibition organized by the Smithsonian Institution’s Museum on Main Street program and brought to you by your state humanities council. These materials and activities were compiled to help your students observe, imagine, learn & contribute to the discussion of American roots music during their visit to the exhibition. While it’s desirable to participate in each step, it’s certainly not required. In fact, each individual piece will provide your students with thought-provoking questions and activities. You can easily customize lessons or even develop your own methods of exploring roots music! The lesson plans that accompany New Harmonies will help you create a meaningful experience for your students. Each includes Pre-visit, Visit, and Post-visit activities. All the lessons can be adapted for younger or older audiences, so evaluate each lesson before selecting activities for your students. The Pre-visit step is designed to be simple, to introduce the students to the exhibit topic, and to be easy to implement. This step is intended to stimulate the students’ curiosity and help students gather information for use in visit and post-visit activities. The Visit step is focused on information gathering. This is a time for the students to explore and read the exhibit content, enjoy audio samples, and utilize interactive components. The activity worksheets included in this section will help students gather enough information to apply their knowledge in a later classroom activity. With all activities and worksheets, students can work individually or in groups. The Post-visit step consists of ideas and activities to implement after your return to the classroom. -
The Role of Folk Music in Traditional African Society: the Igbo Experience
Journal of Modern Education Review, ISSN 2155-7993, USA April 2014, Volume 4, No. 4, pp. 304–310 Doi: 10.15341/jmer(2155-7993)/04.04.2014/008 Academic Star Publishing Company, 2014 http://www.academicstar.us The Role of Folk Music in Traditional African Society: The Igbo Experience Nnamani Sunday Nnamani (Faculty of Humanities & Social Sciences, Federal University Ndufu-Alike Ikwo, Nigeria) Abstract: Folk music is spontaneously composed music of a race, tribe, group etc of a humble nature, orally transmitted from generation to generation with an unknown composer. The traditional Igbo society was not a literate one. We had our culture, traditions and music before the coming of the early missionaries. In the olden days, Igbo people did not derive entertainment from books rather they developed and derived joy from imaginations through oral narratives including traditional (folk) music and dance. According to Emenyonu (1978), Igbo oral tradition or folklore (oral performance) is the foundation of the traditional Igbo music and they include folksongs, folktales, proverbs, prayers including incantations, histories, legends, myths, drama, oratory and festivals. In Africa generally, music plays an important part in the lives of the people and one of the major characteristics of African music is that it has function. The various stages of the life-cycle of an individual and the life-cycles of the society are all marked with music. Key words: Igbo folk music, culture, traditions, beliefs 1. Definition Folk music is the term used to designate the traditional music of a people in contrast to the so called popular music and the serious music of concert halls and opera houses. -
Everett Rock Band/Musician List "GH"
Everett Rock Band/Musician List "G-H" Last Update: 6/28/2020 "G-H" List for Bands/Musicians Genre* From & Genre a Gamble in the Litter F I Mukilteo Minimalist / Folk / Indie G2 RB S H IL R&B/Soul / rap / hip hop Gabe Mintz I R A Seattle Indie / Rock / Acoustic Gabe Rozzell/Decency F C Gabe Rozzell and The Decency Portland Folk / Country Gabriel Kahane P Brooklyn, NY Pop Gabriel Mintz I Seattle Indie Gabriel Teodros H Rp S S Seattle/Brooklyn NY Hip Hop / Rap / Soul Gabriel The marine I Long Island Indie Gabriel WolfChild SS F A Olympia Singer Songwriter / folk / Acoustic Gaby Moreno Al S A North Hollywood, CA Alternative / Soul / Acoustic Gackstatter R Fk Seattle Rock / Funk Gadjo Gypsies J Sw A Bellingham Jazz / Swing / Acoustic GadZooks P Pk Seattle Pop Pk Gaelic Storm W Ce A R Nashville, TN World / Celtic / Acoustic Rock Gail Pettis J Sw Seattle Jazz / Swing Galapagos Band Pr R Ex Bellingham progressive/experimental rock Galaxy R Seattle Rock Gallery of Souls CR Lake Stevens Rock / Powerpop / Classic Rock Gallowglass Ce F A Bellingham traditional folk and Irish tunes Gallowmaker DM Pk Bellingham Deathrock/Surf Punk Gallows Hymn Pr F M Bellingham Progressive Folk Metal Gallus Brothers C B Bellingham's Country / Blues / Death Metal Galperin R New York City bossa nova rock GAMBLERS MARK Sf Ry El Monte CA Psychobilly / Rockabilly / Surf Games Of Slaughter M Shelton Death Metal / Metal GammaJet Al R Seattle Alternative / Rock gannGGreen H RB Kent Hip Hop / R&B Garage Heroes B G R Poulsbo Blues / Garage / Rock Garage Voice I R Seattle's Indie -
Austin City Limits Showcases the Best in Americana with the Lumineers and Shovels & Rope
Austin City Limits Showcases the Best in Americana with The Lumineers and Shovels & Rope New Episode Airs October 19 on PBS Austin, TX—October 17, 2013—Austin City Limits (ACL) celebrates the best in Americana music today, with The Lumineers and Shovels & Rope making their ACL debuts. Denver's Lumineers perform their breakthrough hits including “Ho Hey” and “Stubborn Love” while Charleston, South Carolina's Shovels & Rope perform songs from their acclaimed debut O' Be Joyful. The new episode, part of ACL's just-launched Season 39, premieres October 19th. ACL airs weekly on PBS stations nationwide (check local listings for times) and full episodes are made available online at acltv.com immediately following the initial broadcast. The episode offers a deeper look at two acts that have been receiving well-deserved attention in the roots revival movement. Leading off the hour is The Lumineers, a folk-rock trio that play traditional but original heart-on-the-sleeve music. Of the band The Austin Chronicle writes, “There's nothing precious or affected here, just three dedicated artists opening their hearts.” The young group's breakthrough hit “Ho Hey” was one of the most-played songs of 2012, earning them a performing slot on 2013's Grammy Awards telecast, in addition to two Grammy nominations for Best New Artist and Best Americana Album. The Lumineers' uplifting ACL debut is filled with heart-swelling stomp-and-clap acoustic rock, classic pop and front-porch folk. Their set includes an inspired take on a Dylan classic, while the tambourine driven beat of “Ho Hey” brings the crowd to its feet and the performance closes with a crowd sing-along on “Stubborn Love”. -
Folk Music 1 Folk Music
Folk music 1 Folk music Folk music Béla Bartók recording Slovak peasant singers in 1908 Traditions List of folk music traditions Musicians List of folk musicians Instruments Folk instruments Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music". Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] This type of folk music also includes fusion genres such as folk rock, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two. Traditional folk music Definitions A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined -
This Is How We Do: Living and Learning in an Appalachian Experimental Music Scene
THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS MAY 2011 Center for Appalachian Studies THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY May 2011 APPROVED BY: ________________________________ Fred J. Hay Chairperson, Thesis Committee ________________________________ Susan E. Keefe Member, Thesis Committee ________________________________ Patricia D. Beaver Member, Thesis Committee ________________________________ Patricia D. Beaver Director, Center for Appalachian Studies ________________________________ Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Shannon A.B. Perry 2011 All Rights Reserved ABSTRACT THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE (2011) Shannon A.B. Perry, A.B. & B.S.Ed., University of Georgia M.A., Appalachian State University Chairperson: Fred J. Hay At the grassroots, Appalachian music encompasses much more than traditional music genres, like old-time and bluegrass. While these prevailing musics continue to inform most popular and scholarly understandings of the region’s musical heritage, many contemporary scholars dismiss such narrow definitions of “Appalachian music” as exclusionary and inaccurate. Many researchers have, thus, sought to broaden current understandings of Appalachia’s diverse contemporary and historical cultural landscape as well as explore connections between Appalachian and other regional, national, and global cultural phenomena. In April 2009, I began participant observation and interviewing in an experimental music scene unfolding in downtown Boone, North Carolina.