DOCSLIB.ORG

Table of Contents, Illustrations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents, Illustrations Contents List of Illustrations . ............................... vii Foreword: A Personal Tribute to Anne Grimes. 0ix Preface . ......................................... xi Introduction . ..................................... 1 1 Frank Allen. 18 2 Reuben Allen . ................................ 21 3 Bertha Bacon . ................................ 24 4 Sarah Basham and Bertha Basham Wright . ........ 27 5 John W. Beattie. 31 6 Henry Lawrence Beecher . ...................... 34 7 John M. Bodiker. 39 8 Paul Bogatay . 49 9 Dolleah Church . .............................. 51 10 Governor James M. Cox . ....................... 54 11 Walter W. Dixon. 56 12 Dulcerine Players of Southeastern Ohio: Bob White, . Ken Ward, Lilly McGhee Ward Swick, Charles Ralston. 58 13 Arthur Byrd Fields. 63 14 Ella Strawser Flack . ........................... 65 15 Blanche Wilson Fullen. 68 16 Bob Gibson . 72 17 A. B. Graham . ................................ 75 18 Brodie Franklin Halley . ........................ 77 19 Perry Harper . ................................ 80 20 Amanda Styers Hook. 84 21 Arthur Emerson Kieffer. 87 22 Donald Langstaff . ............................. 91 23 Fanny Hagerman Laylin . ....................... 95 24 Lottie Leas . .................................. 102 25 Bascom Lamar Lunsford . 106 26 W. E. Lunsford and the John H. Lunsford Dulcimer. 108 27 Marcus and Wade Martin and the Martin Dulcimers. 110 28 Jane Jones McNerlin and the . McNerlin Family Dulcimers . .................... 112 29 The National Folk Festival at St. Louis: . May Kennedy McCord, Jenny Wells Vincent, Pete Seeger . 114 30 Neva Randolph ................................. 118 31 Eli “Babe” Reno . ............................... 120 32 Branch Rickey . ................................ 123 33 Carl Sandburg. 127 34 Arthur D. Tyler and the Tyler Dulcimer. 129 35 William T. Utter and Scheitholts from Licking County . 132 36 Bessie Weinrich . ............................... 133 37 Faye Wemmer . ................................ 141 38 Bird O. White and Anne White ..................... 145 39 Anne Rayner Wilson ............................. 147 40 Okey Wood and the Okey Wood Dulcimer . ........... 150 Songs and Dulcimer Playing: CD Selections from the Anne Grimes Collection . ................... 153 Editors’ Notes. 154 Author’s Acknowledgments . .......................... 169 Editors’ Acknowledgments . 174 Selected Bibliography . 177 Subject Index . 183 Title Index . ....................................... 187 Contents v Stories from the Anne Grimes Collection of American Folk Music Illustrations Columbus Dispatch Sunday Magazine cover photo of Anne Grimes with her children, 1952. 1 Map of Ohio with contributors’ names by county . 2 Anne Grimes tape-recording Mrs. J. W. Haigler, Washington Court House, Ohio, ca. 1955 . 4 James W. Grimes, 1946 . ............................ 5 Anne Grimes with her children, 1951. 5 Anne Grimes speaking with Mrs. Frances Kelley, Lima, Ohio, 1953. 6 Margaret O. Moody with Anne Grimes in Chillicothe, Ohio, 1955 . 7 Anne Grimes in her Granville, Ohio, home, early 1960s. 8 Anne Grimes with her dulcimers, mid-1950s . .......... 9 Anne Grimes, ca. 1957. 11 Ohio Hills Folk Festival poster, designed and printed by Frank A. Morgan . ..................... 12 Anne Grimes at home in Granville, 1987 . 13 Anne Grimes in Granville, mid-1980s . ................ 17 Frank Allen with Anne Grimes in Rio Grande, Ohio, early 1950s. 18 Frank Allen with Anne Grimes, early 1950s . ........... 18 Scantling. 18 Frank Allen, early 1950s . ........................... 20 Reuben Allen in Zanesville, Ohio, 1949 . 21 Reuben Allen with family members, 1951 . ............. 22 Bertha Basham Wright and her mother, Sarah Basham, 1957 . 27 Anne Grimes’s notation of “Lass of Roch Royal” . ....... 28 Reproduction of “The Ohio Canal” tune and lyrics from The American Singer . ....................... 31 Margaret O. Moody in Chillicothe, Ohio, 1955 . ......... 32 Henry Lawrence Beecher and Anne Grimes in Mt. Vernon, Ohio, 1953 . ....................... 34 Anne Grimes’s notation of “The Mouse and Plum Cake”. 37 John M. Bodiker in Columbus, Ohio, late 1950s . ........ 39 John M. Bodiker, 1959 . 41 Anne Grimes’s notation of “Jack and His Kind Master”. 44 Dolleah Church at her shop in Columbus, Ohio, mid-1950s. 51 Drawing of bunny with dulcimer by Dolleah Church. 52 Anne Grimes performing in Dayton, Ohio, 1953. 54 Anne Grimes’s notation of “The Pious Little Men”. 57 Bob White with Anne Grimes in Wilkesville, Ohio, 1955. 58 Bob White with his son, 1955. 59 Lilly McGhee Ward Swick near Bidwell, Ohio, 1955 . .... 60 Lilly McGhee Ward Swick and Ken Ward, 1955. 60 Charles Ralston with Anne Grimes in Gallia County, Ohio, 1955 . ..................... 61 Anne Grimes’s notation of “The Liar’s Song” . .......... 62 Ella Strawser Flack in Columbus, Ohio, mid-1950s . ..... 65 Anne Grimes’s notation of “Pretty Nancy” . ............ 67 Blanche Wilson Fullen, Bessie Growden, Faye Wemmer, and Ella Flack, 1959 . ............... 68 Illustrations vii Bob and Rose Gibson, early 1950s . ................... 72 Bob and Rose Gibson, early 1950s . ................... 73 Rowena/Bob Gibson concert program designed by Bill Reik. 73 A. B. Graham in Columbus, Ohio, 1957 . 75 Brodie Franklin Halley in Gallia County, Ohio. 77 Brodie Franklin Halley, early 1950s . 78 Perry Harper in Ray, Ohio, 1955 . .................... 80 Anne Grimes’s notation of “The Nightingale” . .......... 82 Amanda Styers Hook with Anne Grimes in Glouster, Ohio, 1958. 84 Postboy Road in Tuscarawas County, Ohio. 87 Donald Langstaff with Anne Grimes in his home, Toboso, Ohio, 1954 . .................. 91 Anne Grimes in Donald Langstaff’s home, 1954. 92 Donald Langstaff in his home, 1954 . 92 Fanny Hagerman Laylin in Columbus, Ohio, mid-1950s . 95 Adeline Hughes Hagerman. 96 Broadside of “Sinclaire’s Defeat” published by Frazer Ells Wilson . 102 Ticket to Mountain Dance and Folk Festival, 1958 . 107 W. E. Lunsford holding his father’s dulcimer, mid-1950s . 108 W. E. Lunsford with Anne Grimes in Columbus, Ohio, mid-1950s. 109 Anne Grimes with Wade Martin dulcimer . ............ 110 Jane Jones McNerlin with her dulcimer in Oak Hill, Ohio, 1953. 112 Anne Grimes singing the National Anthem at the National Folk Festival in St. Louis, 1952. 114 May Kennedy McCord on the cover of Springfield’s Bias, 1954. 115 Anne Grimes with “Wyoming Jack” O’Brien and Harry Belafonte, 1953 . 116 Neva Randolph in Murray City, Ohio, early 1940s . ...... 118 Arbannah and Eli “Babe” Reno . ..................... 120 Carl Sandburg with Anne Grimes at his home in North Carolina, 1956 . ......................... 127 Arthur D. Tyler with his dulcimer in Columbus, Ohio, 1954 . 129 Columbus Dispatch Sunday Magazine cover photo of Arthur D. Tyler, 1957 . ......................... 131 Johnstown scheitholt . .............................. 132 Tilton scheitholt . 132 Aeolian wind harp. 132 Bessie Weinrich with Anne Grimes in Vigo, Ohio, ca. 1953 . 133 Bessie Weinrich with Anne Grimes, ca. 1953 . .......... 133 Bessie and Philip Weinrich, ca. 1953 . ................. 134 Anne Grimes’s notation of “The Big Shirt” . ............ 140 Faye Wemmer with Anne Grimes in Columbus, Ohio, 1950s. 141 Faye Wemmer in Columbus, Ohio, 1950s . ............. 143 Notation of “Logan’s Lament” by Anne Rayner Wilson . 147 Okey Wood dulcimer. 150 Detail of Okey Wood dulcimer . 152 viii Stories from the Anne Grimes Collection of American Folk Music.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Pete Seeger: a Singer of Folk Songs
    LINGUACULTURE 2, 2020 PETE SEEGER: A SINGER OF FOLK SONGS DAVID LIVINGSTONE Palacký University Abstract Pete Seeger would have turned one hundred and one on May 3 of this year. To commemorate these ten decades plus one year, I would like to look at eleven of the most remarkable aspects of Pete Seeger’s life, work and legacy. This paper will examine the cultural impact and oral tradition of the music, songs and books of Pete Seeger. This legendary folk musician's career spanned eight decades and touched on many of the key historical developments of the day. He is responsible for some of the iconic songs which have not only helped define American culture, but even beyond. Seeger was also a pioneer in a number of fields, using his music to propagate political convictions, ecological themes, civil rights, world music, education, etc. The folk singer also had his finger on the pulse of a number of developments in American history and culture. He was friends with a number of prominent musicians and artists and influenced an entire range of younger musicians and activists. Keywords: Pete Seeger; Folk music; American history; Social activism; Civil Rights movement Family Pete Seeger’ family was a powerhouse of talent, musically and beyond. Charles Seeger (1886-1979), his father, was a renowned musicologist who held a number of prominent university positions. His political convictions, obviously on the left, were also instrumental in forming his son’s ideological worldview. His mother Constance de Clyver (1886-1975) was also a musician although not as accomplished by far as his stepmother Ruth Seeger (1901-1953) (mother to Mike and Peggy).
    [Show full text]
  • Brent Mcknight Thesis
    Table of Contents ! Introduction 1 1. Growing Tourists: Agriculture, Cultural Performance, and Tourism at 14 the Cherokee Indian Fair 2. Entering the Kingdom of Rhododendron: White Culture, Escapism, 42 and Tourism in the Rhododendron Festival 3. Attracting Tourists with Kilts and Cabers: The Cultural and 71 Economic Impact of the Grandfather Mountain Highland Games Conclusion 97 Bibliography 103 ! Introduction: What do Festivals have to do with Anything? When someone mentions western North Carolina today, a host of possible travel destinations and tourist attractions come to mind. The Great Smoky Mountains National Park and the Blue Ridge Parkway attract many visitors annually to their scenic overlooks and expansive views of the Blue Ridge Mountains. Grandfather Mountain blends conservation and tourism into a single attraction where visitors can see native wildlife and walk on the mile-high swinging bridge. One might also think of Harrah’s Cherokee Hotel and Casino and the Museum of the Cherokee Indian in Cherokee, North Carolina, or the craft beer scene, Grove Park Inn, and Shindig on the Green in Asheville. More generally, one might think of folk music or handmade arts and crafts. At the beginning of the twentieth century, no one could have predicted that the tourist industry in western North Carolina, which at the time was dominated by health resorts catering to the wealthy, would transform over the course of the century into a multi-faceted $3 billion industry in 2014.1 The health resort industry began in the nineteenth century and attracted visitors who came to enjoy the hot springs and mountain water, both thought to improve health.2 Over the course of the twentieth century, the tourist industry diversified and expanded to incorporate new forms of leisure.
    [Show full text]
  • Baldwin Haney Essay For
    The Singing on the Mountain By Dave Haney and Lisa Baldwin This essay was composed for the project Worth 1,000 Words: Essays on the Photos of Hugh Morton, made possible in part by a grant from the North Carolina Humanities Council, a statewide nonprofit and affiliate of the National Endowment for the Humanities. The Hugh Morton Collection of Photographs and Films is held by the North Carolina Collection Photographic Archives, Wilson Library at the University of North Carolina at Chapel Hill. Haney is the former Vice Provost for Undergraduate Education and Professor of English and Appalachian Studies at Appalachian State University (now Provost at Black Hills State University in South Dakota), as well as a musician and author on topics of philosophy, literature, and bluegrass music. Lisa Baldwin is a recent graduate of the MA program in Appalachian Studies at Appalachian State University, has taught elementary school for 30 years, is the founder of “Learning Through Song,” a music education program, and is a musician and songwriter who performs with Dave Haney and others. Although our current understanding of traditional music festivals is shaped by the folk and bluegrass festivals that blossomed in the 1960s, both secular and religious traditional music had been performed in large outdoor settings in the Blue Ridge Mountains much earlier. Many of the largest of these events had inauspicious beginnings. On the secular side, the Annual Old Fiddler’s Convention in Galax, Virginia, according to the convention’s official web site, was started in 1935 by Moose Lodge #733 in order to raise funds and preserve regional musical traditions, and has since grown to one of the world’s largest fiddler’s conventions.
    [Show full text]
  • Download on the ACHF Website: 7
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 American Team Clogging as Pilgrimage and Heritage Ritual James Andrew Howard Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE AMERICAN TEAM CLOGGING AS PILGRIMAGE AND HERITAGE RITUAL By JAMES ANDREW HOWARD A Thesis sub itted to the Depart ent of Dance in partial fulfill ent of the require ents for the degree of Master of Arts Degree Awarded. Spring Se ester, 2001 Copyright © 2001 Ja es Andrew Howard All Rights Reser3ed The me bers of the Co ittee appro3e the Thesis of Ja es Andrew Howard defended on March 30, 2001. _________________________________ Tricia Young Professor Directing Thesis __________________________________ Jennifer At6ins Committee Member __________________________________ Sally So er Co ittee Me ber __________________________________ Patricia Phillips Co ittee Me ber Appro3ed. _____________________________________ Patricia Phillips, Co7Chair, Depart ent of Dance _____________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and appro3ed the abo3e na ed co ittee me bers. ii Dedicated, in lo3ing me ory, to Ryan Lee Marsh (118372008) Than6 you, Ryan, for your encourage ent in this and many other ad3entures. Than6 you for being part of my story. One more thing= iii ACKNOWLEDGEMENTS I would first li6e to than6 my fa ily for being tea cloggers, by association, for o3er 21 years. My grand other, Annie Ruth Howard (Granny Annie, as many clogging friends call her), has been exceptionally supporti3e and significant in my clogging ad3entures, fro the earliest lessons to fa ily su er pilgri ages to Dollywood.
    [Show full text]
  • North Carolina MILLENNIAL TRADITIONAL ARTISTS DIRECTORY
    North Carolina MILLENNIAL TRADITIONAL ARTISTS DIRECTORY A product of the Millennial Traditional Artists Project by the Folklife Program of the North Carolina Arts Council www.NCArts.org 1 About the Directory Connecting with Artists The Millennial Traditional Artists (MTA) Directory documents next-generation This directory provides biographies, work samples, and contact information which artists working within traditional genres and cultures found across the state of may have changed over time. We remind users that we cannot guarantee that all North Carolina. the information is completely up-to-date. North Carolina Arts Council staff do not act as managers or agents, so please contact artists directly to ascertain relevant This directory is the outcome of a three-year initiative by the Folklife Program experience and to negotiate bookings and contracts. of the North Carolina Arts Council to identify, serve, and promote the needs of traditional artists at the early stages of their careers. The MTA Project emerged The MTA Directory is intended to be a tool for artists, presenters, and others who from the need to forge new relationships and methods of communication and have an interest in our state’s cultural traditions. To help us understand its value, service with traditional artists in the age of digital media and self-representation. we invite you to share your experiences when you use the directory. Your feed- Although the term “Millennial” formally refers to the generation born between back will help us to improve future iterations of the directory or may spark new the years of 1981 and 1996, this directory more broadly uses the term to refer to strategies for connecting millennial traditional artists with presenters, the general artists emerging in the new millennium.
    [Show full text]
  • Bascom Lamar Lunsford's Daughters
    Bascom Lamar Lunsford’s Daughters: Jo Herron, Lynn Hadley, Nelle Greenawald, Merton Brown Side 1: Jo [5] She was there when the family moved to South Turkey Creek. Her mother was glad to be back with her father and step-mother. She heard lots of stories from her parents about their school days and meetings. Her father sang a lot. The Mountain Dance and Folk Festival started two years later and many people came to the house. Her mother sang hymns as she worked. She remembers her grandfather's barn and all the space the children had for playing. Her parents and grandparents were involved in the Methodist Church. [Nellie Triplett Lunsford, Thomas Triplett, Sophia Triplett, Bascom Lamar Lunsford] Jo [33] There was a problem in all churches regarding dancing. Some were more strict than others. When she was 15 she organized one of the first square dance teams of teenagers to perform at the Mountain Dance and Folk Festival. Richard Queen, son of Sam Queen of Soco Gap saw to it that that young teens were organized to compete. The fiddle was considered "the tool of the devil" and one time, when the dance team was practicing at home, the minister didn't want to see "the work of the devil going on." This was 1939 and square dancing was nationally recognized. There were mixed emotions about this but her father never wanted any part of alcohol. Square dancing is very physical and, while her father offered "White Lightning" on special occasions, this was never broadly done in her memories.
    [Show full text]
  • Gullah-Geechee Collections at the American Folklife Center, Library of Congress
    Gullah-Geechee collections at the American Folklife Center, Library of Congress Draft document, Todd Harvey and Riley Calcagno, 2018 Gullah-Geechee collections at the American Folklife Center, Library of Congress Introduction .................................................................................................................................................. 3 Florida ........................................................................................................................................................... 4 Georgia .......................................................................................................................................................... 4 South Carolina ............................................................................................................................................... 7 2 Gullah-Geechee collections at the American Folklife Center, Library of Congress Introduction In 1926, Henry Wiley sang into the microphone of a wax cylinder recorder operated by folklorist Robert Winslow Gordon. At the time Gordon was documenting musical traditions in Coastal Georgia, specifically around the town of Darien. When Gordon became the first head of the Library of Congress' Archive of American Folksong a few years later he donated his collection of 900 wax cylinders as the archive's first recordings. The performance Mr. Wiley gave was of the Gullah standard "Come by Here," which in time became world-famous as "Kum Bah Yah." The placement of this recording in the Library of
    [Show full text]
  • NPS Form 10-900-B (Rev
    NPS Form 10-900-b (Rev. 01/2009) OMB No. 1024-0018 (Expires 5/31/2012) United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form This form is used for documenting property groups relating to one or several historic contexts. See instructions in National Register Bulletin How to Complete the Multiple Property Documentation Form (formerly 16B). Complete each item by entering the requested information. For additional space, use continuation sheets (Form 10-900-a). Use a typewriter, word processor, or computer to complete all items New Submission Amended Submission A. Name of Multiple Property Listing Skyline Farms Resettlement Project, Jackson County, Alabama, 1931-1960 B. Associated Historic Contexts 1. The Hoover Administration, 1931-1933 2. New Deal Years, 1933-1941 3. World War II Years, 1941-1945 4. A Controversial End, 1944-1946 5. Community in Post-Project Years, 1946-1960 6. New Deal Design at Skyline Farms C. Form Prepared by Carroll Van West, Director; Katie S. Randall, Graduate Assistant; Hallie Fieser, Graduate name/title Assistant; Elizabeth M. Humphreys, Project Coordinator and Architectural Historian organization MTSU Center for Historic Preservation date January 2012 street & number 615-898-2947 PO Box 80 MTSU telephone city or town 37132 Murfreesboro state TN zip code e-mail [email protected] D. Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria.
    [Show full text]
  • The Other Mountain Dance: Clogging Traditions Outside Appalachia After 1970
    THE OTHER MOUNTAIN DANCE: CLOGGING TRADITIONS OUTSIDE APPALACHIA AFTER 1970 by Amy Slade A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies C mmittee: Director Program Director Dean, College of Humanities and Social Sciences Date: Spring Semester 2014 George Mason University Fairfax, VA The Other Mountain Dance: Clogging Traditions Outside Appalachia After 1970 A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Interdisciplinary Studies at George Mason University by Amy Slade Bachelor of Arts Brigham Young University, 2011 Director: Debra Lattanzi Shutika, Professor Department of English Spring Semester 2014 George Mason University Fairfax, VA This work is licensed under a creative commons ii TABLE OF CONTENTS Page List of Figures ..................................................................................................................... v List of Tables ..................................................................................................................... vi Abstract ............................................................................................................................. vii Introduction ......................................................................................................................... 1 The Emergence of Clogging ....................................................................................... 5 Part I:
    [Show full text]
  • Melodic Clawhammer Banjo Kicking Mule Records KM 209, 1977
    Banjo Attitudes Les enregistrements G. De Smaele, 2016 Pour éviter de nous perdre dans le dédale des enregistrements, nous nous limiterons principalement aux références des disques desquels sont extraits les titres de An American Five String History (Frémeaux et Associés, 2008) et de Modern Times (non publié). Ils constituent la sélection discographique suggérée dans Banjo Attitudes. Cette ébauche d’anthologie - qui n’a pas la prétention d’être exhaustive -, pourra avantageusement être complétée. Par ailleurs, le bluegrass est un univers de prédilection pour le banjo à cinq cordes. Il mériterait d’être développé. Notre propos a un objectif didactique et s’intéresse en priorité aux sources. Nous espérons avoir orienté le lecteur vers des éléments lui permettant de satisfaire sa curiosité et de poursuivre des recherches personnelles, dont internet nous ouvre largement l’accès. De nombreux labels nous proposent des productions récentes, ainsi que des rééditions. Si les grandes firmes de disques sont présentes sur le marché – comme c’était d’ailleurs déjà le cas lors de la période d’avant-guerre avec Columbia, Paramount, Brunswick, RCA… -, on remarquera qu’à partir du folk revival, l’offre proviendra majoritairement de plus discrètes maisons spécialisées: Folkways (Smithsonian), Elektra, Yazoo, Vanguard, County, Kicking Mule, Flying Fish, Rounder, June Appal… Ces labels – diffusés dans les cercles plus restreints des amateurs -, viennent parfois compléter les éditions patrimoniales de la Library of Congress. Nous noterons aussi celles de quelques universités, ainsi que les collections remarquables publiés par June Appal… ou le Field Recorder Collective, une initiative sans but lucratif créee plus récemment par Ray Alden.
    [Show full text]
  • Songs and Ballads of American History and of the Assassination of Presidents AFS
    THE LIBRARY OF COmRESS Music Division -- Recording Laboratory FOLK MUSIC OF THE DNInm STATES Issued tram the Collections o~ the Archive o~ American Folk Song Long-Playing Record L29 SOWS AND BALLADS OF AMERlCA1f HlBTORY and o~ the ASSASSINATION OF PRESIDENTS Edited by Duncan Emrich Preface With the single exception of "Washington the Great," the songs on the A side of this record deal with the Civil War, while the rare and unique songs on the B side relate to the assass1Ilations o~ MclUnley, Garfield, and Lincoln. None of the songs dealing with the Civil war are sung by men who participated in the COnflict, and the time bas now pass~d when they can be so collected. This is greatly to be re­ gretted, particularly since few folksong collectors throughout the United States seem to have gathered -- in recorded form -- the his­ torical songs o~ the war ~Olll the veterans themselves. There is still opportunity, however, to collect the songs from the 1IIImediste descendants of veterans, and it is to be hoped that a special effort 11II8y be 11II8de in this direction, in order tbat the traditional, or ~olk, documentation of that period in our history may be the more 'compl.ete. 'The B side of this record, devoted to the songs and baJ.l.ads of assassillation, is mst unusual. To the best o~ our knowl.edge at this time of writing, only one of them -- "Charles Guiteau" -- bas appeared in various scholarly folksong anthologies, whUe a variant o~ "Zolgotz" has been coJ.lected only once. In addition to the gen­ eral rarity o~ the group, it should aJ.so be noted tbat there is present here, in "Mr.
    [Show full text]