DOCSLIB.ORG

The Rhetorical Life of an American Song

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Rhetorical Life of an American Song Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 12-2021 Stories I Have Always Heard: The Rhetorical Life of an American Song Jessica Rose Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Rose, Jessica, "Stories I Have Always Heard: The Rhetorical Life of an American Song." Dissertation, Georgia State University, 2021. https://scholarworks.gsu.edu/english_diss/253 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Stories I Have Always Heard: The Rhetorical Life of an American Song by Jessica Alcorn Rose Under the Co-Direction of Lynée Gaillet, PhD and Mary Hocks, PhD A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2021 ABSTRACT This dissertation investigates the song “You Are My Sunshine” as a cultural and material artifact, using archival and primary materials and drawing from research in feminist and sonic rhetorics to reconstruct the song’s muddy origins and reveal its rhetorical potential. While scholarship tying these traditions together exists, discussions of songs as rhetorical, historical, and cultural objects are scant, and much research focuses on the material state of sound. This investigation of the song shifts that focus to cultural environments, built across time, set amid the backdrop of emerging sound technologies. Employing Hall and du Gay’s research tool “Circuit of Culture,” I examine evidence of the song and its circulations through these environments, traversing across cultural, historical, and personal boundaries, and taking on a serendipitous rhetorical life of its own. Included in this work is the argument that a tradition of inequity exists in the way authorship and ownership are treated in sound, a tradition that is cultural, rhetorical, and consequential. INDEX WORDS: Authorship, Music History, Sonic rhetorics, You are my sunshine Copyright by Jessica Alcorn Rose 2021 Stories I Have Always Heard: The Rhetorical Life of an American Song by Jessica Alcorn Rose Committee Co-Chairs: Lynée Lewis Gaillet Mary Hocks Committee: George Pullman Electronic Version Approved: Office of Graduate Services College of Arts and Sciences Georgia State University December 2021 iv DEDICATION For Easter Mandy and Oliver Hood, who lived it. For their children and grandchildren, who repeated the stories. Most importantly, for Noonie and Paula, who sang for me, keeping me rooted. v ACKNOWLEDGEMENTS I owe gratitude and thanks to so many on behalf of this dissertation. It is most literally a lifelong pursuit, beginning with a childhood family tale of creativity and loss and stoked through the generosity of generations of Hood, McWhorter, Crook, and Pappas households. Each has sought to contribute to the legacy of the song “You Are My Sunshine,” either by sharing the song with the next generation or writing about it more formally; most especially, my love and gratitude goes to the tireless research of David Crook, Neal McWhorter, and Julian Hood, all grandsons of Oliver Hood and who have continued to catalog, document, and build projects around Hood’s music and legacy. This is my contribution to that legacy, which would not have been possible without their work, and I thank each of them for paving the way. This dissertation project and my broader academic scholarship has also been supported by those I consider my academic family, and who have sometimes dragged me through this work, which has happened amid three difficult years that flattened grander plans for archival study and shifted focus from project to a pandemic. Over the course of my PhD, each of these individuals has influenced my pursuits and challenged my thinking. The constant and rigorous conversations with Paige Davis Arrington, my “scholar wife,” kept me focused and thinking and I am in awe of her intellectual tenacity. Archivist and activist Morna Gerrard reminds me that there is joy in the work and has shared coffee, Scottish candies, academics, friendship, and her playground with me and deeply influenced my thoughts on the material, the feminist, and preservational justice. My committee co-chairs, Lynée Lewis Gaillet and Mary Hocks have generously shared their time, expertise, wisdom, and patience with me throughout this project; they are also incredible women, mentors, and friends without whom I would quite literally be a different vi scholar. The countless number of on-the-road calls, early morning emails, and opportunities for collaboration are examples of the kind of feminist academic comradery at work within our field. George Pullman, the third in my committee, offers the valuable gift of distance, letting me experience the dance, sharing thoughts and comments where he sees the gap, and always reminding me to return home to the purpose of the work. Finally, I want to acknowledge my family, whose patience and support make me feel like the luckiest girl in the world: my partner-in-crime, Jason, who has supported this journey with a sincerity and surety that even I have not always had; my wee beasties, Jemma and Ian who are growing into their own and eating up the world and its wonders with wide eyes and a sense of what is right (go Team Stuff!); Aileen, who is tough, pragmatic, brilliant and hilarious, and whose friendship I have always cherished; my father, who gave me the gift of curiosity; and my mother, Paula, and sister, Meagan, the women who have always stood beside me and continue to point the direction home. vii TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................ V LIST OF FIGURES ..................................................................................................................... X 1 INTRODUCTION............................................................................................................. 1 1.1 Methodology ................................................................................................................. 5 1.1.1 Feminist Archival Methodology: Critical Imagination and Archives .................... 6 1.1.2 A Note on Archival Work in Times of Crisis ........................................................... 8 1.2 Circulation and the Circuit of Culture ...................................................................... 9 1.3 The Layout .................................................................................................................. 13 2 SONIC CULTURAL ARTIFACTS .............................................................................. 16 2.1 The Great American Genres and the Cultural Dimensions of Sound................... 17 2.2 Materiality and Sound ............................................................................................... 18 2.3 A Physical Model of Sound ....................................................................................... 21 2.4 Defining Sound as an Artifact ................................................................................... 23 2.5 An Object, not a Thing .............................................................................................. 24 2.6 The Song as a Boundary Object ............................................................................... 26 2.7 “You Are My Sunshine” as a Cultural Boundary Object ...................................... 28 3 EMERGENCE: SOUND IDENTITIES AND THE ROOTS OF AUTHORSHIP ... 30 3.1 Identity ........................................................................................................................ 32 3.1.1 Memory, Narrative, and Identity ........................................................................... 33 viii 3.1.2 Sound and Identity ................................................................................................. 35 3.2 The Folk-Country Boundary .................................................................................... 40 3.3 Authorship and Identity ............................................................................................ 46 3.3.1 Oliver Hood ............................................................................................................. 48 3.3.2 Paul Rice ................................................................................................................. 53 3.3.3 Jimmie Davis .......................................................................................................... 56 3.3.4 The Dispute ............................................................................................................. 59 3.4 Conclusion ................................................................................................................... 62 4 STORIES OF PRODUCTION AND CONSUMPTION ............................................. 64 4.1 Technology, Recording, and Power .......................................................................... 66 4.2 Stories of Production: “Location Recording” ......................................................... 69 4.3 A-Sides ......................................................................................................................... 74 4.3.1 The
Load more

Recommended publications
  • Can You Sing Or Play Old-Time Music?': the Johnson City Sessions Ted Olson East Tennessee State University, [email protected]
    East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 2013 'Can You Sing Or Play Old-Time Music?': The Johnson City Sessions Ted Olson East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Appalachian Studies Commons, and the Music Commons Citation Information Olson, Ted. 2013. 'Can You Sing Or Play Old-Time Music?': The oJ hnson City Sessions. The Old-Time Herald. Vol.13(6). 10-17. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-6/johnsoncity.html ISSN: 1040-3582 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. 'Can You Sing Or Play Old-Time Music?': The ohnsonJ City Sessions Copyright Statement © Ted Olson This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1218 «'CAN YOU SING OR PLAY OLD-TIME MUSIC?" THE JOHNSON CITY SESSIONS By Ted Olson n a recent interview, musician Wynton Marsalis said, "I can't tell The idea of transporting recording you how many times I've suggested to musicians to get The Bristol equipment to Appalachia was, to record Sessions—Anglo-American folk music. It's a lot of different types of companies, a shift from their previous music: Appalachian, country, hillbilly.
    [Show full text]
  • Visions for Intercultural Music Teacher Education Landscapes: the Arts, Aesthetics, and Education
    Landscapes: the Arts, Aesthetics, and Education Heidi Westerlund Sidsel Karlsen Heidi Partti Editors Visions for Intercultural Music Teacher Education Landscapes: the Arts, Aesthetics, and Education Volume 26 Series Editor Liora Bresler, University of Illinois at Urbana-Champaign, Urbana, USA Editorial Board Judith Davidson, University of Massachusetts, Lowell, USA Magne Espeland, Stord University, Stord, Norway Chris Higgins, University of Illinois at Urbana-Champaign, Urbana, USA Helene Illeris, University of Adger, Kristiansand S, Norway Mei-Chun Lin, National University of Tainan, Tainan City, Taiwan Donal O’Donoghue, The University of British Columbia, Vancouver, Canada Mike Parsons, The Ohio State University, Columbus, USA Eva Sæther, Malmö Academy of Music, Lund University, Malmö, Sweden Shifra Schonmann, University of Haifa, Haifa, Israel Susan W. Stinson, The University of North Carolina at Greensboro, Greensboro, USA Scope This series aims to provide conceptual and empirical research in arts education, (including music, visual arts, drama, dance, media, and poetry), in a variety of areas related to the post-modern paradigm shift. The changing cultural, historical, and political contexts of arts education are recognized to be central to learning, experience, knowledge. The books in this series presents theories and methodological approaches used in arts education research as well as related disciplines—including philosophy, sociology, anthropology and psychology of arts education. More information about this series at http://www.springer.com/series/6199
    [Show full text]
  • Defining Ethnomusicology
    10 1. THE HARMLESS DRUDGE : DEFINING ETHNOMUSICOLOGY DEFINITIONS. For years, people have been asking me the question: "You're an ethnomusicologist?" Shortly after 1950 it was likely to be accompanied by expressions of wonder and of the belief that I was somehow involved with "folk" music, with "primitive music," and particularly with "ancient music," and also that I must have a great deal of companionship with a tape recorder. By 1960 the questioner would likely bring up participation in an Indonesian gamelan, or perhaps an ability to "play" many of the world's odd instruments. In the 1970s, the conversation might well include the term "ethnic" music or even the etymologically outrageous "ethnomusic," and in the eighties and nineties, free association might lead to “diversity” and “world music.” I have always found it difficult to come to a precise, concise, and readily intelligible definition. Dictionaries differ considerably but espouse limited views. In the 120 years in which modern ethnomusicology can be said to have existed, since pioneer works such as those of Ellis (1885), Baker (1882), and Stumpf (1886), attitudes and orientations have changed greatly, and so has the name, from something very briefly called “Musikologie” (in the 1880s), to “comparative musicology” (through about 1950), then to “ethno- musicology” (1950–ca. 1956), quickly to “ethnomusicology” (removing the hyphen actually was an ideological move trying to signal disciplinary independence), with suggestions such as “cultural musicology” (Kerman 1985) and “socio-musicology” (Feld 1984) occasionally thrown in. The changes in name paralleled changes in intellectual orientation and emphasis. It is difficult to find a single, simple definition, to which most people in this field would subscribe, and thus ethnomusicologists have been perhaps excessively concerned with defining themselves.
    [Show full text]
  • Impex Records and Audio International Announce the Resurrection of an American Classic
    Impex Records and Audio International Announce the Resurrection of an American Classic “When Johnny Cash comes on the radio, no one changes the station. It’s a voice, a name with a soul that cuts across all boundaries and it’s a voice we all believe. Yours is a voice that speaks for the saints and the sinners – it’s like branch water for the soul. Long may you sing out. Loud.” – Tom Waits audio int‘l p. o. box 560 229 60407 frankfurt/m. germany www.audio-intl.com Catalog: IMP 6008 Format: 180-gram LP tel: 49-69-503570 mobile: 49-170-8565465 Available Spring 2011 fax: 49-69-504733 To order/preorder, please contact your favorite audiophile dealer. Jennifer Warnes, Famous Blue Raincoat. Shout-Cisco (three 200g 45rpm LPs). Joan Baez, In Concert. Vanguard-Cisco (180g LP). The 20th Anniversary reissue of Warnes’ stunning Now-iconic performances, recorded live at college renditions from the songbook of Leonard Cohen. concerts throughout 1961-62. The Cisco 45 rpm LPs define the state of the art in vinyl playback. Holly Cole, Temptation. Classic Records (LP). The distinctive Canadian songstress and her loyal Jennifer Warnes, The Hunter. combo in smoky, jazz-fired takes on the songs of Private-Cisco (200g LP). Tom Waits. Warnes’ post-Famous Blue Raincoat release that also showcases her own vivid songwriting talents in an Crosby, Stills, Nash & Young, Déjá Vu. exquisite performance and recording. Atlantic-Classic (200g LP). A classic: Great songs, great performances, Doc Watson, Home Again. Vanguard-Cisco great sound. The best country guitar-picker of his day plays folk ballads, bluegrass, and gospel classics.
    [Show full text]
  • Newcastle University
    Ethnomusicology at the International Centre for Music Studies, Newcastle University Overview The International Centre for Music Studies (ICMuS) is one of the main departments in the UK for ethnomusicological studies. A particular strength of ICMuS is that staff combine hands-on musical experience with academic study, and engage with world music through approaches and methodologies that are pluralist and often boundary-crossing. Broadly speaking, interests include popular, folk and classical repertories. Since the appointment of Goffredo Plastino in 2001, ICMuS has continued to signal its commitment to ethnomusicology through the successive appointments of Nanette de Jong, Desmond Wilkinson and Simon McKerrell. In addition, other staff are also engaged in ethnographic work and/or study world musics of diverse kinds: Ian Biddle, David Clarke and Bennett Hogg. Between them, they cover the Mediterranean, North Africa, Southern Africa, Central Africa, the Caribbean, South America, Eastern and Western Europe, South Asia and Black Americas. Teaching ICMuS welcomes applications for doctoral studies in any of the areas in which its full-time staff specialise. The undergraduate curriculum includes the study of ethnomusicology from the first year: Understanding World Music introduces students to the academic study of world music; Ethnomusicology is an advanced module which focuses on ethnomusicological theories and methodologies as well as on audio-visual works; The Traditions of These Islands and Folk Music Studies provide a historical and critical
    [Show full text]
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
    [Show full text]
  • BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Various TITLE The Knoxville Sessions 1929-1930 Knox County Stomp LABEL Bear Family Productions CATALOG # BCD 16097 PRICE-CODE DL EAN-CODE ÇxDTRBAMy160974z FORMAT 4-CD Box-Set (LP-size) with 156-page hardcover book GENRE Country / Historical TRACKS 99 PLAYING TIME 303:58 G With this set, BEAR FAMILY RECORDS completes the map of commercial recording in East Tennessee in the late 1920s and early 1930s. G 'The Bristol Sessions, 1927-928: The Big Bang Of Country Music' documented epoch-making sessions by VICTOR RECORDS that launched the careers of Jimmie Rodgers and The Carter Family, while G 'The Johnson City Sessions, 1928-1929: Can You Sing Or Play Old-Time Music?' focused on COLUMBIA RECORDS' similar search for early country music talent in Appalachia, sessions that yielded many other seminal recordings. INFORMATION 'The Knoxville Sessions, 1929-1930: Knox County Stomp' features the music made at two sessions conducted by BRUNSWICK RECORDS at downtown St. James Hotel – music remarkable both for its variety and for the rarity of the records that preserved it. Whereas the recordings made in Bristol and Johnson City were almost exclusively of old-time country and gospel music, the Knoxville sessions captured a more diverse gathering of Appalachian voices and sounds. Amidst old-time stringbands like the Ten- nessee Ramblers, the Southern Moonlight Entertainers, and the Smoky Mountain Ramblers, we also hear the majestic African American blues and gospel singer Leola Manning, the hot dance music of Maynard Baird & His Southern Serenaders, the virtuoso string ragtime of Howard Armstrong and the Tennessee Chocolate Drops, sacred songs by white and African American quartet- tes, songsters such as Will Bennett and Haskell Wolfenbarger, a unique recorded playlet about the Hatfield-McCoy feud – and even an address by the businessman whose enterprise brought BRUNSWICK RECORDS to Knoxville, Colonel J.G.
    [Show full text]
  • Houstonfest 2015 “A Celebration of Song & Service” Felts Park; Galax, VA May 1-2, 2015 (Always the 1St Weekend in May)
    HoustonFest 2015 “A Celebration of Song & Service” Felts Park; Galax, VA May 1-2, 2015 (Always the 1st weekend in May) In the spirit of Ralph Peer's original call to artists, please join us as HoustonFest proudly presents: _______________ “The 1927 Bristol Sessions Revisited” hosted by Carl Jackson & featuring an incredible lineup of performers from the upcoming “ORTHOPHONIC JOY: THE 1927 BRISTOL SESSIONS REVISITED” recording project including: Marty Stuart - Steep Canyon Rangers Doyle Lawson - The Chuck Wagon Gang Shotgun Rubies - Ashley & Shannon Campbell The Church Sisters - The Virginia Luthier Band Corbin Hayslett - Larry Cordle Jesse McReynolds “The Bristol Sessions is the single most important event in the history of country music.” JOHNNY CASH Camp Houston Unique stage & area dedicated to youth In 1927, there was a magical recording Music & activities session in Bristol that would shape the Jam Sessions future of country music. Known as the “Big Bang of Country Music”, the Bristol Sessions took country music to a new level & produced pioneers of the FEATURING: genre including: The Stoneman Family, Blue Highway - Jeff Little Trio Jimmy Rodgers, and The Carter Family. Sierra Hull – Sigmon Strings Terry Baucom & The Dukes of Drive GalaX's Ernest “Pop” Stoneman played Clay Hess Band – Ash Breeze an integral role in helping Ralph Peer Fiddling Carson Peters Band Amber Collins &Branch House Pavilion comb the Appalachian Region for rural Mountain Park Old Time Band talent. Other musicians from the GalaX ShadowGrass – Changing Lanes area included Eck Dunford, Henry Kitty & The Stray Cats Whitter,The Shelor Family, Norman White Top Mountain Band Edmonds, and J.P.
    [Show full text]
  • P E R F O R M I N G
    PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales).
    [Show full text]
  • International Seminar of the ISME Commission on Research
    Proceedings of the 25th International Seminar of the ISME Commission on Research Federal University of Paraíba, João Pessoa, Paraíba, Brazil 14-18 July 2014 Editors Oscar Odena and Sérgio Figueiredo ©International Society for Music Education 2014 www.isme.org 1 National Library of Australia Cataloguing-in-Publication Author: ISME Commission on Research International Seminar (25th: 2014: João Pessoa, Brazil) Title: Proceedings of the 25th International Seminar of the ISME Commission on Research, João Pessoa, Brazil [electronic resource] ISBN: 978-0-9942055-2-0 (eBook) Notes: Includes bibliographical references. Subjects: Music--Congresses. Music in education--Congresses. ISME Commission on Research Dewey Number: 780.7 Commissioners 2012-2014 Sérgio Figueiredo, Co-Chair and Latin American Representative Oscar Odena, Co-Chair and UK and African Representative Graça Boal-Palheiros, European Representative Bo Wah Leung, Asian Representative Evelyn Orman, USA Representative Susan O’Neill, Australia, Canada and New Zealand Representative Secretary of the Commission Christopher Johnson (past Chair 2010-2012) Honorary Life Members James Carlsen Clifford Madsen 2 Mission Statement The mission of the ISME Research Commission is to: examine through research important issues facing music education worldwide; develop, refine and demonstrate a range of research approaches, methods and techniques for critically examining issues in music education; provide a forum for the communication, critical analysis, and dissemination of research innovations in music education; and deepen and develop the research knowledge base for practitioners, policy makers, and researchers in music education. The Research Commission accomplishes its mission by providing workshops, lectures, seminars, and demonstrations in different locations in order to build research capacity and to promote research expertise in all regions of the ISME membership.
    [Show full text]
  • Guidelines for Cataloging Vernacular Music Manuscripts
    Guidelines for Cataloging Vernacular Music Manuscripts These “Guidelines” were developed by staff at the Center for Popular Music over the course of the American Vernacular Music Manuscripts (AVMM) project. Cataloging practices were based on the cataloging rules articulated in the latest draft (version 5D) of The Descriptive Cataloging of Rare Materials (Music) using RDA standards, with modifications specific to the project materials and access goals. Fixed Fields. Fixed-Field music manuscript elements, such as item format and date of publication/creation, were coded consistently across MARC 21 records. Elements that were most commonly used in the cataloging of music manuscripts are indicated in bold italics below. Fixed field elements Abbr. Code Meaning Type Type d Manuscript notated music Bibliographic level BLvl m Monograph/Item Descriptive Cataloging Form Desc i ISBD Encoding Level Elvl I Full by OCLC participants None of the following: microfilm, Form of item Form _ microfiche, microopaque, lrg print Music Parts Part _ Unspecified d Instrumental and vocal parts e Instrumental parts f Vocal parts n Not applicable u Unknown Format of Music Fmus a Full score b Full score, miniature or study size c Accompaniment reduced for keyboard d Voice score (accompaniment omitted) Condensed score or piano-conductor e score i Condensed score m Multiple formats u Unknown Music in other than score form (such z as solo instrument) Cataloging Source Srce d Other (Cataloging data not from LC) Form of Composition Comp _ No information supplied bd Ballads
    [Show full text]
  • WILLIE NELSON a Wandering Spirit Finds His Way Home
    MARCH/APRIL 2010 ISSUE MMUSICMAG.COM MARCH/APRIL 2010 ISSUE MMUSICMAG.COM JAKOB DYLAN DRIVE-BY TRUCKERS SHARON JONES PETER FRAMPTON CONTENTS MARCH/APRIL 2010 WILLIE NELSON A wandering spirit finds his way home SLASH Going it alone WARREN HAYNES Gov’t Mule’s new kick COVER STORY KAKI KING WILLIE NELSON SLASH Guitar heroine 36 An American legend talks about how his 44 The guitar giant who fired up Guns N’ Roses and + new album helped him rediscover his roots. Velvet Revolver steps to center stage. KAKI KING DON WAS BROADWAY 24 The innovative young guitarist follows inspiration 48 One of the music world’s most respected ROCKS wherever it leads. producers knows it’s all about the song. MARCH/APRIL 2010 VOLUME 01, ISSUE 02 PETER FRAMPTON WARREN HAYNES PERIODICAL $6.99 U.S. / $7.99 CANADIAN SOCIAL 34 A veteran guitar slinger discusses his new music 62 Why Gov’t Mule’s frontman is always ready and NETWORKING and the perils of superstardom. eager for a new musical challenge. GET GREAT VOCALS 2 MARCH/APRIL 2010 M2_mag_v3.indd 2 3/22/10 10:15 PM MARCH/APRIL 2010 ISSUE MMUSICMAG.COM MARCH/APRIL 2010 ISSUE MMUSICMAG.COM MARCH/APRIL 2010 37 MARCH/APRIL 2010 ISSUE MMUSICMAG.COM MARCH/APRIL 2010 ISSUE MMUSICMAG.COM t’s Thursday afternoon in Evansville, Ind., and Willie Nelson composition “Man With the Blues,” Nelson and friends ramble is—as always—on the road. He played a show last night, he’ll through songs like Ernest Tubb’s “Seaman’s Blues” and Merle I play a show tomorrow night, another the night after that, and Travis’ “Dark as a Dungeon” on their way to the traditional blues another the night after that, stretching out ahead for most of the moan “Nobody’s Fault But Mine,” a number Nelson only recently coming year.
    [Show full text]