Can the Circle Be Unbroken (1935) the Carter Family

Total Page：16

File Type：pdf, Size：1020Kb

MUSC-21600: The Art of Rock Music Prof. Freeze Can the Circle Be Unbroken (1935) The Carter Family LISTEN FOR • Hallmarks of country music o Guitar-oriented texture o Folk-like melody with southern white diction o Gospel qualities (confessional lyrics, vocal harmonization) • 2/4 meter with “dropped” beats in verses (m. 12) and choruses (mm. 4, 12) CREATION Songwriters A. P. Carter (music, lyrics) Label, Record Columbia 37669 Musicians Maybelle Carter (vocals), Sara Carter (vocals), A. P. Carter (vocals) ; acoustic guitar Recording August 1935; mono MUSIC Genre Country, folk Form Simple verse-chorus Key A-flat major Meter 2/4, with dropped beats LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro (3) • Guitar accompaniment 0:06 Verse 1 (16) “I was standin’” • Solo vocal • Dropped beat in m. 12 0:26 Chorus (16) “Can the circle be unbroken” • Choral vocal • Dropped beat in mm. 4 and 12 0:44 Instr. verse (16) • Guitar solo • No dropped beat MUSC-21600 Listening Guide Freeze “Can the Circle Be Unbroken” (The Carter Family, 1935) Time Form Lyric Cue Listen For 1:04 Verse 2 (16) “I told the undertaker” • Solo vocal 1:23 Chorus (16) “Can the circle be unbroken” • Choral vocal 1:41 Verse 3 (16) “I followed close behind her” • Solo vocal 2:00 Chorus (16) “Can the circle be unbroken” • Choral vocal 2:18 Instr. verse (8) • Partial statement of verse 2:28 Verse 4 (16) “Went back home, Lord” • Solo vocal 2:47 Chorus (16) “Can the circle be unbroken” • Choral vocal LYRICS I was standing by the window I followed close beside her On one cold and cloudy day Tried to hold up and be brave And I saw the hearse come rolling But I could not hide my sorrow For to carry my mother away When they laid her in the grave Can the circle be unbroken Went back home Bye and bye, Lord, bye and bye Lord my home was lonesome There's a better home a-waiting All my brothers sisters crying In the sky, Lord, in the sky What a home so sad and lone Lord, I told the undertaker Undertaker, please drive slow For this body you are hauling How I hate to see her go SOURCES • John Covach and Andrew Flory, What’s That Sound? (New York: W. W. Norton, 2012), 17. • http://www.lyricsmania.com/can_the_circle_be_unbroken_lyrics_carter_family.html 2 .

Copy Link

Recommended publications

Viewed in the Family (66)
The Influence of Family in the Preservation of Appalachian Traditional Music: From the Front Porch to Performance A thesis submitted in partial fulfillment of the requirements for the degree of Master of Humanities By KATHY Q. HAYES B.S., Berea College, 1973 2008 Wright State University WRIGHT STATE UNIVERSITY SCHOOL OF GRADUATE STUDIES June 12, 2008 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Kathy Hayes The Influence of Family in the Preservation of Appalachian Traditional Music: From the Front Porch to Performance BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Humanities. _________________________________ Mary L. Rucker, Ph.D. Director _________________________________ Ava Chamberlain, Ph.D. Director, Master of Humanities Program Committee on Final Examination ______________________________ Mary L. Rucker, Ph.D. ______________________________ Edward Haas, Ph.D. ______________________________ Marjorie Mclellan, Ph.D. ______________________________ Joseph F. Thomas Jr., Ph.D. Dean, School of Graduate Studies Table of Contents Acknowledgements Chapter I: Introduction………………………………………………………………………………………… 1 Chapter II: History and Settlement of Appalachia……………………16 Chapter III: Values, Families, and Migration in Appalachia…………………………………………………………………………………………………32 Chapter IV: Appalachian Families and Music……………………………………36 Carter Family………………………………………………………………………………………………………59 Ritchie Family……………………………………………………………………………………………………70 Queen Family…………………………………………………………………………………………………………75
[Show full text]
Beneath the Load of Women's Cares
Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky “Beneath the load of women’s cares:” Women’s voices in country music Bakalářská práce Autor: Nela Brančíková Vedoucí: Mgr. David Livingstone, Ph.D. OLOMOUC 2018 Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně pod odborným dohledem vedoucího práce a uvedla úplný seznam citované a použité literatury. V Olomouci dne 14.5. 2018 Nela Brančíková I would like to thank my supervisor Mgr. David Livingstone, Ph.D. for his patient help, advice and encouragement. Contents 1 Introduction 5 2 Country music background 7 2.1 Origins of Country Music 7 2.2 The South, Folk Music and Society 9 2.3 Early Recordings 11 2.4 Appalachian women 12 3 The 1920s 15 3.1 The Carter Family 15 3.2 Single Girl, Married Girl 19 3.3 Lulu Walls 21 4 The post-war era 24 4.1 Kitty Wells 25 4.2 It Wasn’t God Who Made Honky-Tonk Angels 26 4.3 Cheatin’s a Sin 29 5 The Women’s movement of the 1960s – 1980s 31 5.1 Loretta Lynn 31 5.2 The Pill 33 5.3 Hey Loretta 36 5.4 Dolly Parton 39 5.5 Jolene 41 5.6 Working Girl 43 6 Conclusion 46 7 České resumé 49 8 Bibliography 52 9 Annotation 55 10 Anotace 56 1 Introduction The aim of this work is to show how women were perceived in American society through country music culture, specifically through the country music of female artists. The quote from the title of my work “Beneath the load of women’s cares” is the final line from the song “Are You Tired of Me My Darling” by The Carter Family, one of the analyzed country music artists.
[Show full text]
String City Search!
Is your puppet a recording artist? SKETCH A Or is it something from your imagination? What clothing does your puppet wear? STRING CITY SEARCH! Does he/she play an instrument? Now that you’ve enjoyed String City: Nashville’s Tradition of Music and Puppetry, use these activities to EXPLORE String City in the Museum galleries. What can you find? Keep your completed activity sheet to remember your experience. DRAW a line from each artist to their artifact on display in the Museum. DeFord Bailey Reba McEntire Roy Acuff Sara Carter Charley Pride Johnny Cash Tammy Wynette Nitty Gritty Taylor Swift Chet Atkins Dirt Band SUPPORTED BY: This original program was created by Nashville Public Library’s Wishing Chair Productions in collaboration with the Country Family programs are funded in part by The Bonnaroo Works Fund of The Community Foundation Nashville Parent Music Hall of Fame and Museum. Made possible by Judy and of Middle Tennessee, Epiphone, Fender, the Metropolitan Nashville Arts Commission, and . Technology Partners: Cisco; NewTek; Personal Computer Systems, Inc.; and Promethean. Evening Flour Sack Megaphone Tuxedo with Washboard Steve Turner and the Nashville Public Library Foundation. Gown Brocade Trim #PressPlayRecord • #CMHOF50 • @CountryMusicHOF • CountryMusicHallofFame.org George Jones 1992; George Strait 2006; Loretta Lynn 1988; Minnie Pearl 1975; Patsy Cline 1973; Reba McEntire 2011; Vince Gill 2007; Willie Nelson 1983 Nelson Willie 2007; Gill Vince 2011; McEntire Reba 1973; Cline Patsy 1975; Pearl Minnie 1988; Lynn Loretta 2006; Strait George 1992; Jones George Taylor GS6 Beaded Gown U.S. Air Force Zimmerman Gibson Chet Atkins Alabama 2005; Bill Monroe 1970; The Carter Family 1970; Chet Atkins 1973; DeFord Bailey 2005; Dolly Parton 1999; Eddy Arnold 1966; Ernest Tubb 1965; Garth Brooks 2012; 2012; Brooks Garth 1965; Tubb Ernest 1966; Arnold Eddy 1999; Parton Dolly 2005; Bailey DeFord 1973; Atkins Chet 1970; Family Carter The 1970; Monroe Bill 2005; Alabama Hall of Fame Hunt: Hunt: Fame of Hall Jacket Autoharp Studio Classic : 1.
[Show full text]
Nomination Form CARTER FAMILY THEMATIC NOMINATION, Scott County, Virginia Continuation Sheet {Fol Item Number 6 , 7 Page 1, 1
VLR Listed: 4/16/1985 NPS Form tO.WO NRHP Listed: 6/20/1985 13821 United States Department of the Interior National Park Service For NPS use only National Register of Historic Places received !~~e?nt~ry-~~~~i~~$!~~Form date entered See instructions in How 10 Complete National Register Forms Type all entries-complete applicable sections 8, Bame (Thematic ~ornination) historic CARTER FAMILY THBMATIC YOMINATION (DHL File 84-20) . - - - and ox common N/A 2. Rscafiioa street & number Various ( see individual iriventory forms) !&*not for publication -- - - >- ciEy,town Maces Spring x vicinity of --- .- - - A Virginiq code 5 1 countv Scott code 169 Category Ownership Status Present Use ,-district -public 2 occupied -agriculture -x __ -building(s) A private LL unoccupied - - structure -both workin progress - ,L private residence - Public Acquisition dccessible - -X religious - -in process -5 yes: restricted -- -scientific - transportation name Multiple &nership (see individusl inventory Egrms) - ,,. - - -- -- -. -- - street & number ' N/A -- - -- . -- .- --- * - ci!y, town W /A. ~/.plvicinityof stare N/A , P*I a-1 5, Location off Resal Desceil~tion courthouse. registry of deeds, etc. Scott County Courtl~ouse --- -- ------- -- . - city. town Gate City state VirRinia 6. Re~resemta-tiom Existime SUBY~VS~S~~hntinuation Sheet $:L) Virginia ~ivision 3 f His t0riC Landn3r;ifias this property been determined eligible? -yes no .. - .. .- +"? -- -- - - date 1975, 1985 - . federal _ state -county .. local -- - .- . deposirory Virginia Division of Historic Landmarks f s -- . - -- .- - o -r -urve y r.ec. -or -d s - -- ..- -- - -- . -- -- -- .. - --- Virginia city, town 221 Governor Street, Richmor~d state 23219 - --+--- -. - .-- - -- .. - - . - -----..+- . -- . NPS Form 10,900,a 0MB No. 1024-0018 (3·82) Exp. 10-31-84 United States Department of the Interior National Park Service National Register of Historic Places Inventory-Nomination Form CARTER FAMILY THEMATIC NOMINATION, Scott County, Virginia Continuation sheet {fol Item number 6 , 7 Page 1, 1 6.
[Show full text]
Dale Jett and the Carter Singers Perform A
The American Folklife Center ofthe Library ofCongress presents OMEGRO~ ~ L~~2il7 4 Traditional music and dance "homegrown" in communities across the United States AN ACQUISITIONS AND PRESENTATION PROJECT ,ETT AND THE CARTER SINGERS PERFORM A ARTER AMILY RIBUTE IN HONOR OF ETTE CARTER'S 2005 NEA ATIONAL HERITAGE FELLOWSHIP Tuesday .\~\.\. eptember 10, 1005 \~ 11 NOON - IPM Coolidge Auditorium Ground Floor, Thomas Jefferson Building Library of Congress I 0 First Street, SE Closest Metro Stop: Capitol South (orange and Washington, DC blue lines) , located one block south of the Jefferson Building Cosponsored with the Kennedy Center Millennium Stage Request ADA accommodations five days in advance at (202) 707-6362 or [email protected] For more information contact Thea Austen 202-707-1743 AMUSICAL FAMILY AND ADUTIFUL DAUGHTER The original Carter Family was a working where his music and other traditional music band for only 14 years. Their recordings were would be heard. Jeanette has become a hero issued on two-sided 78 RPM discs, and they to people in her region of the mountains, and did no national touring.The companies that to Carter fans everywhere, for her steadfast recorded them did virtually no promotion, keeping of the promise. Her brother Joe, and they were never associated with any well recently deceased, did much of the work in known venue, such as the Grand Ole Opry. building the performance hall, and Janette Their entire career was accomplished during the Great worked as a cook at the local school, spending her earnings to Depression and its lingering aftermath. But 64 years after the build the hall.
[Show full text]
Introduced Reprint
2004 SESSION INTRODUCED REPRINT 049205836 INTRODUCED 1 SENATE JOINT RESOLUTION NO. 221 2 Offered March 1, 2004 3 On the deaths of June Carter Cash and Johnny Cash. 4 ±±±±±±±±±± Patrons±±Wampler and Puckett; Delegates: Johnson and Kilgore 5 ±±±±±±±±±± 6 WHEREAS, June Carter Cash was born Valerie June Carter on June 23, 1929, in Maces Springs, 7 Scott County, Virginia; and 8 WHEREAS, by the age of 10, June Carter was performing stage shows and on the radio with her 9 mother, Maybelle Carter, and aunt and uncle, A.P. and Sara Carter±±the original Carter Family±±"The 10 First Family of Country Music"; and 11 WHEREAS, June, along with her mother and sisters, carried on the Carter Family legacy by 12 performing as the Carter Sisters at venues throughout the nation, including the Grand Ole Opry; and 13 WHEREAS, June©s 1968 marriage to Johnny Cash resulted in a four-decade partnership that 14 influenced the development of country music by strengthening the bonds between folk and country 15 music; and 16 WHEREAS, Johnny Cash was recognized for his achievements by becoming the youngest living 17 inductee into the Country Music Hall of Fame, being inducted into the Rock and Roll Hall of Fame, and 18 winning 11 Grammy awards; and 19 WHEREAS, June Carter Cash was honored for her achievements through five Grammy Awards, 20 including two posthumously for her last project, which was recorded at the family©s home in Maces 21 Springs, Scott County, Virginia; and 22 WHEREAS, the musical legacy of the Carter Family has been carried on in Scott County and
[Show full text]
June Carter Cash Keep on the Sunny Side: June Carter Cash- Her Life in Music Mp3, Flac, Wma
June Carter Cash Keep On The Sunny Side: June Carter Cash- Her Life In Music mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Keep On The Sunny Side: June Carter Cash- Her Life In Music Country: US Released: 2005 Style: Country MP3 version RAR size: 1927 mb FLAC version RAR size: 1274 mb WMA version RAR size: 1959 mb Rating: 4.6 Votes: 209 Other Formats: AU ADX MIDI MP4 FLAC XM AA Tracklist Hide Credits Keep On The Sunny Side –The Original 1-1 MC [Announcer] – Brother Bill GuildVocals, Guitar – Maybelle Carter, 0:33 Carter Family* Sara Carter Written-By, Vocals – A. P. Carter Oh! Susannah 1-2 –June Carter Interviewer – Brother Bill GuildVocals – June CarterWritten-By – S. 0:54 Foster* Root, Hog Or Die –The Carter Accordion – Helen Carter Bass – Anita CarterElectric Guitar – Chet Sisters And 1-3 AtkinsGuitar – Maybelle CarterProducer – Charles Grean, Steve 2:30 Mother SholesVocals, Autoharp – June CarterWritten-By – J. Carter Cash*, M. Maybelle* Foree* Baby, It's Cold Outside –Homer & Electric Guitar – Chet AtkinsProducer – Steve SholesVocals – June 1-4 Jethro* With 2:54 CarterVocals, Guitar – Henry "Homer" Haynes*Vocals, Mandolin – June Carter Kenneth "Jethro" Burns*Written-By – Frank Loesser Country Girl –Homer & Electric Guitar – Chet AtkinsProducer – Steve SholesVocals – June 1-5 Jethro* With 2:52 CarterVocals, Guitar – Henry "Homer" Haynes*Vocals, Mandolin – June Carter Kenneth "Jethro" Burns*Written-By – B. Bryant*, F. Bryant* –The Carter Foggy Mountain Top Sisters And 1-6 Producer – Don LawVocals – Helen Carter , June CarterVocals, Bass – 2:50 Mother Anita CarterVocals, Guitar – Maybelle CarterWritten-By – A. P.
[Show full text]
Women on Stamps
jÉÅxÇ fàtÅÑáÉÇ jÉÅxÇ fàtÅÑáÉÇ Publication 512 April 2003 ©2003 United States Postal Service All rights reserved Produced by Diversity Development For more information, please visit www.usps.com WOMEN ON STAMPS Sending a powerful message requires a powerful tool. And the mail is one of the most powerful — and easily accessible — communication tools available today. A single postage stamp is the only investment you need. Since the first postage stamps were issued more than 150 years ago, just about every one of them has also carried a message about our shared heritage, our diverse culture and the people and events that have helped build a great nation. Women have had a strong and lasting impact on American history. The Postal Service is proud to honor their influence and achievements through our stamp program. They are artists, abolitionists, national leaders and physicians. They are war heroes, pioneers, authors and performers. They are American painter and printmaker Mary Cassatt, a home-grown and world-renowned Impressionist; Harriet Tubman, who personally led over 300 individuals from slavery to freedom; Patsy Cline, whose plaintive voice personifies the sound of country music; and Eleanor Roosevelt, the vocal and progressive First Lady, who became a champion for social reform and human rights. For more than a century, since 1893, when a woman first appeared on a United States postage stamp, the Postal Service has proudly honored women and their achievements. We will continue to tell their story, and jthe story of America, through our stamp program. The United States Postal Service has bound the nation together through its personal and business communications for more than two centuries.
[Show full text]
Interview with Laura Cash
…In the studio he seemed larger than life and was quite intense. He knew what he wanted and didn’t want. Interview with Laura Cash Laura Cash is a talented fiddle player who has worked with many artists over the years. In our exclusive interview she talks about her early life, success at various fiddle contests, her own career and working with June Carter-Cash and Johnny Cash. I’d like to start by asking where and when you were born? I was born in Sandwich, Illinois in 1971. This was the town with the nearest hospital to Plano, Ilinois, where my parents were living at the time. And where were you educated? We moved to Oregon when I was 6 years old, so after the first grade I went to school in Corvallis, OR. After high school, I started college at Oregon State University in 1989. About halfway through that year, though, I received a job offer from Patty Loveless in Nashville, so, of course, I took it. When did you first get interested in music and what type of music were you listening to? Our family listened to all different genres of music. My dad loved country and bluegrass and my mom loved rock and roll. Some of their combined favorites were Hank Williams, Marty Robbins, Johnny Cash, Flatt & Scruggs, Patsy Laura Cash - 1999 Cline, The Beach Boys, Janis Joplin, Jimi Hendrix, The Doors, and Led Zeppelin, just to instrument restoration specialist in Portland, name a few. But the movie “The Sound Of Oregon, determined that the fiddle needed to be Music” really opened my awareness to fully restored, which would be quite expensive.
[Show full text]
The Carter Family and Hazel & Alice
THE CARTER FAMILY AND HAZEL & ALICE: A COMPARISON OF MUSICAL INFLUENCES AND CHANGING GENDER NORMS A Thesis by LAIKEN BOYD Submitted to the Graduate School at Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Center for Appalachian Studies THE CARTER FAMILY AND HAZEL & ALICE: A COMPARISON OF MUSICAL INFLUENCES AND CHANGING GENDER NORMS A Thesis by LAIKEN BOYD December 2016 APPROVED BY: Dave H. Wood Chairperson, Thesis Committee Thomas S. Hansell Member, Thesis Committee Eugenia C. Conway Member, Thesis Committee William R. Schumann Director, Center for Appalachian Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Laiken J. Boyd. 2016. All Rights Reserved Abstract THE CARTER FAMILY AND HAZEL & ALICE: A COMPARISON OF MUSICAL INFLUENCES AND CHANGING GENDER NORMS (DECEMBER 2016) Laiken Boyd B.A., Glenville State College M.A., Appalachian State University Chairperson: Dave H. Wood This thesis explores, in detail, the lives and musical careers of The Carter Family (A.P., Sara, and Maybelle) in comparison with those of Hazel Dickens and Alice Gerrard. These are two trailblazing musical groups of the country and bluegrass music industries. This thesis discusses the effect of these women’s accomplishments on the country music and bluegrass industries when taking into consideration the obstacles society presented them with in the form of gender norms. Using the social constructs of gender norms during the 1920s-1970s as a lens for discussing some of the obstacles these women faced in their careers (e.g., restrictions/hindrance). This work will attempt to address what the gender norms of the time period were, if the fact that they were women presented any significant obstacles for their careers, and why these women received the recognition that they did.
[Show full text]
Messin' with the Furniture
ajh018.fm Page 208 Wednesday, March 24, 2004 11:15 AM “Messin’ with the Furniture Man”: Early Country Music, Regional Culture, and the Search for an Anthological Modernism J. M. Mancini Furniture! Thank God, I can sit and I can stand without the aid of a furniture warehouse. What man but a philosopher would not be ashamed to see his furniture packed in a cart and going up country exposed to the light of heaven and the eyes of men, a beggarly account of empty boxes? Henry David Thoreau, Walden In the 1920s a boom in commercial recording brought hundreds of farmers, miners, carpenters, and preachers from rural places like Burton’s Fork, Kentucky, to the very epicenters of urban America to sing and to play banjos, gddles, and guitars into machines. With the help of a rapidly integrating consumer economy that linked city and country through the twin virtual networks of media and market, these machines turned this music—which only a generation before had existed only as practice—into things. These things, in turn, cir- culated not only in those great conurbations and unincorporated spaces but between and within every kind of place in the middle. One musician who made this journey was a young coal miner named Dick Justice (1906–ca.1950s) of Logan County, West Virginia, who traveled to Chicago in May of 1929 to record for Brunswick Records. Like the career of his fellow miner Dock Boggs (1898– 1971), who left Norton, Virginia, in 1927 to set down 12 tracks for the same label in New York, Justice’s recording career there met an abrupt end.
[Show full text]
National Register of Historic Inventory
United States Department of the lnterior National Park Sewlcs For NPS urn only National Register of Historic Places reeived Inventory-Nomination Corm date enter4 See instructions in How to Complete National! Register Forms type all entries--comalete atsplieable sections - . - -- I. Name (Thematic Nomination) hislorrc CARTER FAMILY TREXATIC NOMI NATION (DHL File 84-20) ---- -- -, -.-- --- -- and or common N/A 2, Location street number Various (see individual inventory forms) Pnottor publieatlor! - . -- .. -- - city. town Maces spring -X, vicinity of -- .----..- --- - - 169 ,tat@ Virginia code 51 county ' code 3, Classification Cabgory Ownership Status Present Use -dlstrrct -publle _;c occupied - agrlcultura X museum -building(s) A private 2 unoccupied - commercial -park -. structure _,both workIn progress edu~atitmal a prlvate residence ,. ,. site Public Aequisifion Accessible --entertainment -X religious -object -in process 2yes: restricted -government -. selentifk transportation 4. Owner of .Property name Multiple Ownership (see individusl inventoty fgrms) & number - * N/A street - -- .- -.--A- ". --- -----.- .. cWy, town N /A ~J,~vicinAyof state Hit3 --- -co urthouse, ---registry of deeds,---- etc. Scott-.--- County Courthouse- - ----- ---- streel & number N/A --- - ----.A- --- eity,town Gate City state Virginia title 0 f tor ~irginia~ivis ion His Lan+5t--ichs this property hen determined eligible? ,--yes .Xno 1-1- ---- - ____--_.. ___ - --_5_--_--. -_I__- date 1975, 1985 federal .-'. state - county ., local _ _I-_.._ -. ,. - - . .
[Show full text]