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A Mixed-Methods Study of Affective Difference in the Old-Time Music Revival In A Mixed-Methods Study of Affective Difference in the Old-Time Music Revival in Appalachian Virginia and North Carolina By David Henderson Wood B.A., College of William and Mary, 2005 M.A., Appalachian State University, 2009 May 2015 © Copyright 2015 by Dave Wood This dissertation by David Henderson Wood is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date ____________ _____________________________________ Jeff Todd Titon, Advisor Recommended to the Graduate Council Date ____________ _____________________________________ Marc Perlman, Reader Date ____________ _____________________________________ Kiri Miller, Reader Date ____________ _____________________________________ Kenneth Steele, Reader Approved by the Graduate Council Date ____________ _____________________________________ Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE DAVE WOOD Born in Falls Church, VA, in 1982. EDUCATION Ph. D., Ethnomusicology, Brown University, 2015. Dissertation: “A Mixed-Methods Study of Affective Difference in the Old-Time Music Revival in Virginia and North Carolina.” Advised by Prof. Jeff Todd Titon. M.A., Appalachian Studies, Appalachian State University, 2009. B.A., Music, College of William and Mary, 2005. PUBLICATIONS 2015. “Appalachian Music: Discussing the Top Ten.” Forthcoming in Appalachian Journal 42 (3 & 4). 2015. “Review: The Milliner-Koken Collection of American Fiddle Tunes.” Forthcoming in Appalachian Journal 42 (3 & 4). 2010. “The Hi-FiPod?: The Role of Sonic Fidelity in the Portable Digital Age.” Technomusicology: A Sandbox Journal 2(1). 2009. "'Waaaaay Back Up In The Mountains': An Interview with Storyteller Orville Hicks." With Lisa Baldwin, Anne E. Chesky, Rachel F. Westrom, Meredith Doster, Joshua Noah, Danielle E. Rector, Brittony S. Fitzgerald, Mollie K. Surber, Zachary Fulbright, and Thomas A. McGowan. Appalachian Journal 37(1-2): 44- 75. CONFERENCE PRESENTATIONS “The Many Musics within the Old-Time Music Revival: Mixed-Methods Evidence in Support of a New Revival Theory.” Appalachian Studies Association Conference in Johnson City, TN 2015. “The Promise of Combining Ethnography and Cognitive Science in the Study of Appalachian Traditional Music Communities.” Appalachian Studies Association Conference in Boone, NC 2013. iv “Music Cognition and the Old-Time String Band Revival: Implications for Appalachian Cultural Heritage.” Appalachian Studies Association Conference in Indiana, PA, 2012. "'That Ain’t Old-Time’: The Shifting Ambassadorship of Appalachian Old-Time Music.” Appalachian Studies Association Conference in Portsmouth, OH, 2009. TEACHING EXPERIENCE Courses Developed and Taught: Appalachian State University, Boone, NC Appalachian Music (Spring 2015) Bluegrass Traditions (Fall 2013) Bachelor of Interdisciplinary Studies Program, University of Virginia, Charlottesville, VA Appalachian Musical Traditions (Summer 2013) Psychology of Music (Summer 2012 and Fall 2012) Music and Cognition (Summer 2011) Semester at Sea Program (Academic Sponsor: University of Virginia) Music and Cognition (Spring 2011) Curry School of Education Summer Enrichment Program, University of Virginia, 2008- 2010 Appalachian Dulcimer (5th – 8th grades) Psycho-Acoustics! (7th – 11th grades) Courses Assisted: Brown University, Providence, RI, 2009-2012 Old-Time, Bluegrass, and Country Music, Jeff Todd Titon, Ph. D. Introduction to Western Music, David Josephson, Ph. D. Advanced Ghanaian Drumming and Dancing Ensemble, Martin Obeng Music and Modern Life, Marc Perlman, Ph.D. Old-Time String Band, Jeff Todd Titon, Ph. D. Appalachian State University, Boone, NC, 2007-2009 Introduction to Appalachian Studies, Katherine Ledford, Ph.D. Appalachian Music, Marc Freed, M.A., M.L.S. Appalachian Strings, Alex Hooker, M.A. v Other Teaching: Private and group instrument instruction (old-time fiddle, guitar, dulcimer), 2009- present Writing Tutor, Appalachian State University Writing Center, 2008-2009 Substitute Teacher, Kyrene School District, Tempe, AZ, 2007 Reading and Writing Tutor, All-Star Tutors, Tempe, AZ, 2006-2007 HONORS AND FELLOWSHIPS William C. Friday Research Fellowship in Appalachian Studies, Appalachian State University, 2009 DEPARTMENTAL SERVICE Colloquium Series Committee, Brown University, 2011 Fieldwork Equipment Manager, Brown University, 2010-2012 PROFESSIONAL AFFILIATIONS Society for Music Perception and Cognition Society for Ethnomusicology Appalachian Studies Association vi ACKNOWLEDGEMENTS Seventy-six old-time musicians somehow found the time and the inclination, with no monetary incentive, to get a 16-page survey packet filled out and mailed back to me intact (though one seemed to be half-soaked with what smelled like whiskey). A few dozen more took hours out of their life to answer my interview questions, invite me into their homes, and send me relevant information in the way of recordings and articles. Dozens more took the time to talk to me – some for a few minutes, some for a few hours. Others volunteered to find me more participants and expressed enough interest in my research that I continued to think it might be worthwhile. A giant thanks to all who participated in this. I’m particularly indebted to friends and musical brothers and sisters who have expressed constant interest in my research and given me much-needed psychic healing through our musical interactions. Rick Martin, Becky Cohen, Dick Harrington, Steve Kruger, Doug Sharkey, Zach Pozebanchuk (judge that bass!), Kilby Spencer, Mark Freed, Emily Schaad, Kevin Fore, Erika Godfrey, Rich Shulman, Mike McKee, John Payne, Trevor McKenzie, Brandon Holder, and so many more deserve a shout-out here. I also need to thank Amy Wooley, whose enthusiasm infected me early in my exposure to this music and whose guitar work I’m still trying to approximate, Andy Woolf, whose research and whose sense of wonder at the mysteries of music set the stage for this work, and Jeff, Marc, Kiri, and Ken for guiding me through this process and encouraging me to vii address errors in my thinking and writing that would have been disastrous had they made it into the final version (and a few probably did – sorry about that). I also owe a huge debt of gratitude to the courageous scholarship of Judith Becker, Alf Gabrielsson, Edward Slingerland, Steven Pinker, Geoffrey Miller, Paul R. Gross, Alan Sokal, John Sloboda, Dane Harwood, Mervyn McLean, Patrick Savage, E.O. Wilson, and David Huron and to the ethnomusicology faculty at Brown, who tolerated my insufferable criticisms of humanistic research methods after I’d read the above authors. Special recognition should also go to my mom, Ellen, for her example of courage, grace, and good spirits in the face of adversity and for her constant love, encouragement, interest in my work, and Words With Friends games when I needed to take breaks from writing (which was most of the time); my dad, Gary, for teaching me how to play and appreciate music in the first place; and to my uncle D, who introduced me to pretty much all of my favorite music and who has served as a constant role model and surrogate big brother. My wife and best friend, Robyn, predicted long ago that I was capable of completing this thing, and she turned out, as usual, to be right. Not a word of this would have been written without her support, sage advice, and homemade treats. Our little baby girl, Rayna, has helped remind me of the goal of all of this, and her smiling and stretching routine when she wakes up have brightened many a gloomy winter morning in the mountains. Finally, my grandma, good friend, and mentor, Fibi (who passed away while this was still in its early stages) set me on this path since I was a kid. A Ph.D. herself and an active scholar until her final days, she inspired me to pursue the life of the mind even viii when I seemed more content behind a lawn mower or covered in grease under a vehicle in her driveway. She taught me how to love reading, writing, learning, and critical thinking and why those things are important in this world. This dissertation is dedicated to her. I hope she would be proud to know that I finally was able to “finish the shittin’ thing!” ix TABLE OF CONTENTS LIST OF TABLES ............................................................................................................. xi LIST OF FIGURES ......................................................................................................... xiii CHAPTER 1: INTRODUCTION ....................................................................................... 1 CHAPTER 2: LITERATURE REVIEW .......................................................................... 28 CHAPTER 3: METHOD .................................................................................................. 97 CHAPTER 4: RESULTS & DISCUSSION ................................................................... 115 CHAPTER 5: GENERAL DISCUSSION ...................................................................... 236 CHAPTER 6: CONCLUSION ....................................................................................... 271 WORKS CITED ............................................................................................................. 310 APPENDIX A: Survey Packet ........................................................................................ 320 APPENDIX B: Interview Questions ............................................................................... 335 x LIST
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