DOCSLIB.ORG

A Teacher's Guide Tc Folksinging: a Minielective for Students in Grades 9, 10,11, and 12

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Teacher's Guide Tc Folksinging: a Minielective for Students in Grades 9, 10,11, and 12 DCCUMENT RESUME ED 033 565 TE 499 905 TITLE A Teacher's Guide tc Folksinging: A MiniElective for Students in Grades 9, 10,11, and 12. INSTITUTICN New York State Education rept., Albany. Eureau cf Seccndary Curriculum Development. Pub Date [ 69] Note 45p. EDES Price EERS Price MF$0.21-: HC Not Available from EEFS. Descriptors American Culture, Cultural Factors, *Folk Culture, Folk Drama, Folklcre Fooks, Instructicnal Materials, Legends, Music, *Musical Instruments, Music Appreciation, *Music Educaticn, Seccndary Education, *Singing, *Teaching Guides Abstract To help meet the needs of ncnmusicmajor students in grade S,10,11, and 12, this teacher's guide offers guidelines fcr a ccurse to stimulate students' interest and involvement in fclksinging. Guidelines are prcvided cn the rcle cf the teacher, methods cf instructicn, and suggested time allctments. Brief descripticns and ccmments on some typical folk instrumentE--the autoharp, banjo, dulcimer, guitar, and zither--are given. A tiblicgraphy of multimedia resource materials - -hocks and Fericdicals, audiotaFes, films, filmstrip and record sets, and records--is included, with annotations for many cf the items listed. An appendix lists other types of music Productions, e.g., symphcnies and musicals, that inccrEcrate cr are based cn fclk scngs. [Not available in hard ccry due to marginal legibility of original document.] (IH) N.S. alfalfa atOFFIT1 ilia111.tatEATION OF EDUCATION iWILIAM /14 7e4doeit'a111S011nesPOSITIONSTAIDSOCORRO' BO9ceeete 01011/11110011NOT MICR. LAS RUMMY IEEN Ol1i1N11N16 REPROINICES MIRE OFFICIAL R. Malt MINIS OffICE AS OFRECEIVED VIEWOf toEDUCATION 01 PION OPINIONS 1111 7diedia94, Ore.Ma meaz-deetifieOttdrealear4 rdeted9.10. /1. amee BureauTHEThe STATE ofUniversity SecondaryAlbany, EDUCATION Newof theCurriculum York State 12224DEPARTMENTofDevelopment NewYork A Teacher's Guideto Folksinging is the second FOREWORDin Recordwhoanschools averagemight Collecting, in otherwise schoolNew York setting.and haveStateContemporarylittletoOther meet or publications theno Music. opportunityneeds of(At innonmusic thisthefor seriespoint,active amajors series includetheparticipation -of titlesthose curriculum Teaching studentsare intentative.) materialsthemusic in Guitar, gradesbeyonddesigned Hi-Fi9, the 10, 8thEquipment 11,to grade, helpanJ 12theandin perience.asleads one The tobegins aimportance seriousThe to guidelines understandmisjudgment of folk in the musicthis ofnature publicationthein humandepth,of folkaffairs subtlety,are music, thereforehas participationlongand estheticintendedbeen recognized, impactinto itstimulate becomesof but folk its amusic richtechnical asand anrewarding artsimplicity form. human However,oftenex- studentscourseThe of reflectgains study to whichnot be onlyderived offersthe fromanemotional opportunity a course forces in for folksingingand studentsvalues toofare becomethe intangible; individual,involved but in butthe this alsothoughtsthe important thosedevelopment assimilatedof musicalhis of amedium. bylocal the perform.whoofpeople, minorityplay andsuchFolksinging hisgroups instruments culture. as mightimportantasIn therefore theaddition, partsguitar, ofbecome the the folksinging banjo,acommon logical theculture sequelexperienceautoharp, of toAmerica. a canorcourse thelead mountain And ofto instructionitan can appreciationdulcimer also inoffer anfolk opportunityofthose guitar.thehome, studentstraditions histo wideanythe case,programneeds,The guidelinesthe andand folksinging explorestherefore offeredlocalstimulateon asthe well following theas development ethnic, pages national,areof aloosely unit and of structured,international study which inmeets ordertraditions localto give andrather schoolsmaterials. than thestate- feelIn of . Daily, for an 8- toexperience might beoffered: . Two or three timesa 10-weekweek, for period; a semester; .. As ana full-yearindependentcourse, elective; in expanded form; . As one segment ofa year-long course; . As a mini-elective tobe chosen in combinationwith any or all of the otherunits in the series;or Theregulations amount. In of ain varietycredit the State toof beothergrantedways. to thosestudents who participate in theprogram will be governed by the 1 Education Department'sSyllabus in Music, Grades7 to 12. publicThe school manuscript music teacher.for this publicationA. Theodore wasTellstrom, written Chiefby Bob of Beers, the Bureau internationallyof Music Education,known folksinger initiatedand and former forwitheditionQuatraro,supervised secondary the for suggestions and thepress. schools.Charles entire After ofJ.project teachersTrupia. a trial- with whoperiodRita havemajor A. in Sator,actually assistanceselected Associateused school from it, inhisandsystems, Secondary threepublished Associates,the Curriculum, manuscriptas part Eugeneof willpreparedthe J. benew Cunningham, revisedsyllabusthe tentative in in Johnaccordance musicA. Chief,Gordon BureauE. Van ofHooft Secondary DevelopmentDirector,William E. Curriculum YoungCenter Curriculum Development ii CONTENTS INTRODUCTION:FOREWORD PHILOSOPHY AND RATIONALE INSTRUCTIONALTHE ROLE OFGUIDELINES THE TEACHER 441 ASUGGESTED METHOD OR TIME PROCEDURE ALLOTMENT, 125 SOME THECOMMENTS AUTOHARP CONCERNING EQUIPMENT 13 THE GUITARDULCIMERBANJO 1413 A REPRESENTATIVEBOOKSTHE ZITHER AND PERIODICALS SAMPLING OF MULTIMEDIA RESOURCEMATERIALS. 1615 FILMSTRIPFILMSAUDIOTAPES AND RECORD SETS 232116 RECORDSCollectionsLPs of Individual and LPs Singers of Groups, Singing FolkSongs 24 APPENDIXSUPPLEMENTARY ITEMS - Not ReviewedSinging Folk Songs 424035 ZZZ MUSICAL COMPOSITIONSBASED ON OR INCLUDING FOLKSONGS 42 SymphonicDrama,Ballet Musicals, Music andOpera 4342 iv INTRODUCTION: PHILOSOPHY AND RATICNLE folkway";thesedevelop. Folksingingbecame forThe anitcommonfolk important representsis a traditional, ofpart "aa countrymodeof their oralof orthinking, characteristic art.regionThe often feeling,word transmitted"folk"culture. or actingmeansA their folk[whichpeople; songtraditions is] andis thereforewhere through peoplea song kindare, andof traditions "musicalstory, and mentsocial onIn group." conditionsearlier times, and eventsfolksinging of local provided and/or not national onlya meanssignificance, of entertainment, a medium forbutcommon thealso expressionto ana peopleopportunity ofor personalto fora com- ofandthoughts the moresRecent human orof years feelings,c,:nditionspecific have groupsandseen- as a a wellsourceand theas of thevarious inspiration. particularsocial, singer'sAs political, a result, point economic, authenticof view. religious,folksongsand reflect psychological both the aspectsvalues partscholarlyastivity guest of isreligious performers,academicfirmly establishedservices. institutions; and programsToonresurgence younghighin which private schooland feature ofold andhomes,interest alike, folksingingcollege clubs, itin campuses;folkseems and have artplacesto offer:andprimeas aoffolk curriculum timepublic music. on radioentertainment;offeringFolksingers and television. even andappear in as the anfrequently The mostintegral ac- . Something genuine and real, inan increasingly artificial, unreal, almost surrealisticworld; .. Roots,Simplicity, in times in timesof mobility; of complexity; . Pride of heritage, in times of cPallenge; . An opportunity for individualexpression, in times of mass labeling; and But folksinging. A means isof deservingcommunication of respectandshared as an understanding, art form alone in -times for itsof isolationlimitless varietyand segregation. of expression, for its Bigviveability Bill centuriesThe to Broonzy,varied involve of talents Ronunwritten, and Eliran, inspire, and approachesunrecorded andforof transmission.those such qualitiesfolksong artistswhich have as Joanenabled Baez,itsHarry early Belafonte, songs and Theodoreballads toBikel,sur- SinceoccupationalmusicBernice theto Reagon, includeInternational work Jean traditionalsongs, Ritchie, Folk spirituals, Musicballads,WoodyPete CouncilSeeger,Guthrie,ethnicWestern apparently and songs,Lightnin' ballads, Josh folk White definesHopkins, mountainblues have theand broadenedLeadbelly,and traditional"Black" bluegrass themusic,Ewan conventionalfolksongs, MacColl,protest song sea as songs,chanteys Mariamparameters"music and Makeba,andthat folk ofsimilar has folkrock.Odetta, been submittA to theprocess of oral transmission: ...the product of evolution...dependent upon thecircumstances of continuity,. They originate variation, andandare selection,transmitted oral/7';all of theseare legitimate inclusionsso long as: . There are variationsof the samesongs, both in lyrics and inmelody; and Thus, .authenticThey "belong" folk songsto the can"folk," and should or a begroup of people. Art songs- which(usually are copyrighted),the workof knownanddistinguished whichcomposers, exist from:inwhich are composed andcirculated in writtenform . Popular songs- whichshow littleare also ifanycomposed variation and circulatedin wordsoronein music, versionwritten and only;form which (usually remaincopyrighted), which _Country, Western,limited or "h1::1h.11:y" time; andsongs- whichfolkgenerally songs. are essentiallylack thesimpleother dignity forms andof populareloquencepopularsongs offor genuine anda relatively which musicalservedOver"definition"; 40,000 inclassics The pieces Archiveandtheseof ofrecorded haveAmerican been American FolkconsideredSongfolk in somusic thefundamental Libraryseem to offulfillto Congress. the thehistory standardsSome of ofa peoplethemsuggested form that bythey thehaveIFMC beenpre- thePorgyinand the
Load more

Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
    WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
    [Show full text]
  • Diana Davies Photograph Collection Finding Aid
    Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival.
    [Show full text]
  • Case 1:16-Cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66
    Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -------------------------------------- X : WE SHALL OVERCOME FOUNDATION and : 16cv2725(DLC) BUTLER FILMS, LLC, on behalf of : themselves and all others similarly : OPINION AND ORDER situated, : : Plaintiffs, : : -v- : : THE RICHMOND ORGANIZATION, INC. (TRO : INC.) and LUDLOW MUSIC, INC., : : Defendants. : : -------------------------------------- X APPEARANCES: For the Plaintiffs: Mark C. Rifkin Randall S. Newman Gloria K. Melwani Wolf Haldenstein Adler Freeman & Herz LLP 270 Madison Ave, 10th Floor New York, NY 10016 For the Defendants: Paul LiCalsi Ofer Reger Robins Kaplan LLC 601 Lexington Ave, Suite 3400 New York, NY 10022 DENISE COTE, District Judge: The defendants The Richmond Organization, Inc. (“TRO”) and its subsidiary and imprint Ludlow Music, Inc. (“Ludlow”) (collectively, the “Defendants”) possess two copyrights in the musical composition “We Shall Overcome” (the “Song” or the Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 2 of 66 “Copyrighted Song”), registered as a derivative work with the Copyright Office in 1960 and 1963. In this litigation, the plaintiffs We Shall Overcome Foundation (“WSOF”) and Butler Films, LLC (“Butler”) (collectively, the “Plaintiffs”) challenge through a putative class action the validity of the Defendants’ copyrights in the Song. The Plaintiffs have filed a motion for partial summary judgment in which they principally argue that the lyrics and melody in the first verse and its identical fifth verse (“Verse 1/5”) of the Song are not sufficiently original to qualify for copyright registration as a derivative work.1 For the reasons that follow, that portion of the Plaintiffs’ motion for summary judgment is granted.
    [Show full text]
  • Ed Mccurdy—Ave Atque Vale January 11, 1919—March 23, 2000 Where Do You Come From?
    32... BULLETIN de musique folklorique canadienne 34.1/2 (2000) Ed McCurdy—Ave atque vale January 11, 1919—March 23, 2000 Where do you come from? Where do you go? Where do you come from, Cotton eyed Joe? These, of course, are the age old questions that have kept of folk music and children's songs, and his six albums of erotic philosophers, theologians, scientists and historians busy for songs brought him even wider audiences. He always loved the years. They are also part of the song Cotton Eyed Joe which bawdy ballad, and had a great repertoire of them. served as Ed McCurdy's theme song on countless radio and tele­ This repertoire stood him in good stead. Once, in between vision programmes in the 40s and SOs during his days with the recording sessions for the CBC, he had a short break. He dashed CBC. I involuntarily started singing it when I heard of Ed's to the CBC cafeteria in its old Jarvis Street building, but it was death in Halifax on March 23 this year. The philosopher Santa- packed. No seat anywhere. Ed immediately started singing the yana once said, "There's no cure for life and death save to en­ bawdiest ballad he knew (which must have been pretty bawdy!) joy the interval." Ed did his best to enjoy the interval, although at the top of his not inconsiderable voice. Many people immedi­ his last years were hard on him. ately cleared the room; Ed sat down and ate his lunch and then I remember him sitting in front of a group of grade eights dashed back to the recording studio.
    [Show full text]
  • Music for the People: the Folk Music Revival
    MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance.
    [Show full text]
  • The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition”
    CFA MU 755, Boston University Steve Eulberg The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition” In a nation composed dominantly of immigrants, or people who are not “from” here, one can expect the cultural heritage in general, and the musical heritage in particular, to be based on the many strands of immigrant tradition. At some point, however, that which was brought from the old country begins to “belong” to the children of the immigrants, who pass this heritage on to their children. These strands are the woof that is woven into the warp of the new land—a process that continues until the tradition rightly belongs to the new setting as well. This is the case for the Applachian Mountain (or fretted, lap, plucked, strummed1) dulcimer. This instrument has been called by some “The Original American Folk Instrument.”2 Because other instruments have also laid claim to this appellation (most notably the banjo), this paper will explore whether or not it deserves such a name by describing the dulcimer, exploring its antecedent instruments, or “cousins”, tracing its construction and use by some people associated with the dulcimer, and examining samples of the music played on the instrument from 3 distinct periods of its use in the 20th century. What is the dulcimer? The Appalachian Mountain Dulcimer3 consists of a diatonic fretboard which is mounted on top of a soundbox. It is generally strung with three or four strings arranged in a pattern of three (with one pair of strings doubled and close together, to be played as one.) Its strings are strummed or plucked either with the fingers or a plectrum while the other hand is fretting the strings at different frets using either fingers or a wooden stick called a “noter.” The shape of the body or soundbox varies from hourglass, boat, diamond and lozenge, to teardrop and rectangular box style.
    [Show full text]
  • 01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen
    |--Abigail Washburn | |--City of Refuge | | |--01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen | | |--04 Chains | | |--05 Ballad of Treason | | |--06 Last Train | | |--07 Burn Thru | | |--08 Corner Girl | | |--09 Dreams Of Nectar | | |--10 Divine Bell | | |--11 Bright Morning Stars | | |--cover | | `--folder | |--Daytrotter Studio | | |--01 City of Refuge | | |--02 Taiyang Chulai | | |--03 Bring Me My Queen | | |--04 Chains | | |--06 What Are They Doing | | `--07 Keys to the Kingdom | |--Live at Ancramdale | | |--01 Main Stageam Set | | |--02 Intro | | |--03 Fall On My Knees | | |--04 Coffee’s Cold | | |--05 Eve Stole The Apple | | |--06 Red & Blazey | | |--07 Journey Home | | |--08 Key To The Kingdom | | |--09 Sometime | | |--10 Abigail talks about the trip to Tibet | | |--11 Song Of The Traveling Daughter | | |--12 Crowd _ Band Intros | | |--13 The Sparrow Watches Over Me | | |--14 Outro | | |--15 Master's Workshop Stage pm Set | | |--16 Tuning, Intro | | |--17 Track 17 of 24 | | |--18 Story about Learning Chinese | | |--19 The Lost Lamb | | |--20 Story About Chinese Reality TV Show | | |--21 Deep In The Night | | |--22 Q & A | | |--23 We’re Happy Working Under The Sun | | |--24 Story About Trip To China | | |--index | | `--washburn2006-07-15 | |--Live at Ballard | | |--01 Introduction | | |--02 Red And Blazing | | |--03 Eve Stole The Apple | | |--04 Free Internet | | |--05 Backstep Cindy_Purple Bamboo | | |--06 Intro. To The Lost Lamb | | |--07 The Lost Lamb | | |--08 Fall On My Knees | | |--Aw2005-10-09 | | `--Index
    [Show full text]
  • Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian, a Case Study a Dissertati
    Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian, a Case Study A Dissertation Presented to The Faculty of the Education Department Carson-Newman University in Partial Fulfillment of the Requirements of the Degree Doctorate of Education By Nola Carrie Queen Isobe May 2016 Committee: Dr. Deborah Hayes, Dr. Mark Brock, and Dr. Patrick M. Taylor (Advisor) i ii Copyrighted by Nola Carrie Queen Isobe 2016 iii iv Abstract Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian a Case Study Nola Carrie Queen Isobe School of Education, Carson Newman College May 2016 Appalachian English is a dialect of American Standard English. It is spoken in much of North Carolina, Kentucky, Tennessee, Virginia, West Virginia, and Pennsylvania. There is concern that this dialect could follow the path of dedialectalization through cultural unacceptance, generational changes, and saturation of newcomers to the area. Society views speaking proper English, the standard dialect, the route for much of the rural areas inhabitants to take to achieve better jobs and find social acceptance and a successful life. Society’s social view of an uneducated people speaking the Appalachian dialect prompts teachers to change students’ dialect to help them ensure success in school and society at large. Could teachers in fact hold perceptions of students that are accelerating the dedialectalization of the Appalachian dialect? This study will shed some light on the perceptions that educators have in regards to dialects, specifically the Appalachian dialect. v List of Figures and Tables FIGURE 1: Appalachian Regional Commission Map of Appalachia……………………….. 1 FIGURE 2: Robert Delany Map of American English……………………………………… 140 FIGURE 3: Summary of Dialect Samples Graph………………………………..…………..
    [Show full text]
  • Southern Appalachian Dulcimer Association January-March 2020 Newsletter
    Southern Appalachian Dulcimer Association January-March 2020 Newsletter _______________________________________________________________________ President: Rob Angus: [email protected] (205) 987-7976 1st Vice President: Carolyn Rials: [email protected] Home (205) 491-1890 Cell (205) 602-8285 nd 2 Vice President: Bob Sutton: [email protected] Home (205) 668-0659 Cell (205) 919-2564. Treasurer: Brenda Hickey: [email protected] Cell (205) 616-4489 Secretary: Sherry Knight: [email protected] Cell (985) 516-2745 Festival Chair & Public Relations: Dawn Wilson: [email protected] Cell (205) 516-2854 Newsletter Editor: Ken Waites: [email protected] Cell (205) 601-2485 WEB PAGE: http://sdulcimer.wordpress.com Facebook page: Southern Appalachian - check out our Facebook page for pictures from our festival & gatherings, as well as meeting notices and links to events. If you cannot find our Facebook page, please send an e-mail to Dawn Wilson and she will try to friend you. SADA's You-Tube page: http://www.youtube.com/user/SouthernAppDulcimer MONTHLY MEETINGS SADA monthly meetings are held the second Saturday of the month, except for May and December, beginning at 11 AM. Jamming is followed by a business meeting, potluck lunch, and more jamming until 2 PM. Our location is Lake Crest Presbyterian Church, 560 Lake Crest Parkway in Hoover. Address for Lake Crest Presbyterian Church: 560 Lake Crest Parkway, Hoover, AL 35226 Directions to Lake Crest Presbyterian Church: Driving south from Trussville on I-459, take exit 10 at the Grove Shopping Center. Turn right onto John Hawkins Parkway (Alabama Highway 150) towards Bessemer. Drive 0.7 mile and turn right onto Lake Crest Drive.
    [Show full text]
  • John Jacob Niles David F
    The Kentucky Review Volume 2 | Number 1 Article 2 1980 John Jacob Niles David F. Burg Communication Services Corporation Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Music Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Burg, David F. (1980) "John Jacob Niles," The Kentucky Review: Vol. 2 : No. 1 , Article 2. Available at: https://uknowledge.uky.edu/kentucky-review/vol2/iss1/2 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. John Jacob Niles David F. Burg March I regard warmly, since I was born into it in the thirties-at a time when John Jacob Niles had already finished his most important ballad collecting efforts. And so I always look forward to its first day. March 1, 1980, however, was quite unwelcome, beginning with snow, gusts, and bitter cold. And in the afternoon a telephone call informed me that John Jacob Niles had died during the morning. Suddenly his unique presence was lost. He was an old man, yes, and old men die; but this old man was special-! knew I would not see his like again. For when Johnnie Niles died we Americans lost more than our foremost folksinger. Most widely renowned as a balladeer, he was a compelling performer who created an immediate intimacy with his audience.
    [Show full text]
  • The Pacific Coast and the Casual Labor Economy, 1919-1933
    © Copyright 2015 Alexander James Morrow i Laboring for the Day: The Pacific Coast and the Casual Labor Economy, 1919-1933 Alexander James Morrow A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: James N. Gregory, Chair Moon-Ho Jung Ileana Rodriguez Silva Program Authorized to Offer Degree: Department of History ii University of Washington Abstract Laboring for the Day: The Pacific Coast and the Casual Labor Economy, 1919-1933 Alexander James Morrow Chair of the Supervisory Committee: Professor James Gregory Department of History This dissertation explores the economic and cultural (re)definition of labor and laborers. It traces the growing reliance upon contingent work as the foundation for industrial capitalism along the Pacific Coast; the shaping of urban space according to the demands of workers and capital; the formation of a working class subject through the discourse and social practices of both laborers and intellectuals; and workers’ struggles to improve their circumstances in the face of coercive and onerous conditions. Woven together, these strands reveal the consequences of a regional economy built upon contingent and migratory forms of labor. This workforce was hardly new to the American West, but the Pacific Coast’s reliance upon contingent labor reached its apogee after World War I, drawing hundreds of thousands of young men through far flung circuits of migration that stretched across the Pacific and into Latin America, transforming its largest urban centers and working class demography in the process. The presence of this substantial workforce (itinerant, unattached, and racially heterogeneous) was out step with the expectations of the modern American worker (stable, married, and white), and became the warrant for social investigators, employers, the state, and other workers to sharpen the lines of solidarity and exclusion.
    [Show full text]