Alan Lomax Bibliography
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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. -
“Take a Whiff on Me”: Leadbelly‟S Library of Congress Recordings 1933-1942 — an Assessment
CORE Metadata, citation and similar papers at core.ac.uk Provided by SAS-SPACE Blues & Rhythm, No. 59, March-April 1991, pp. 16-20; No. 60, May 1991, pp. 18-21 revised with factual corrections, annotations and additions, with details regarding relevant ancillary CDs, and tables identifying germane CD and LP releases of Leadbelly‘s recordings for the Library of Congress; and those for the American Record Corporation in 1935 “Take A Whiff On Me”: Leadbelly‟s Library of Congress Recordings 1933-1942 — An Assessment John Cowley From the mid-1960s, a small trickle of long-playing records appeared featuring black music from the holdings of the Archive of Folk Culture (formerly Archive of Folk Song) at the Library of Congress, in Washington, D.C. A few were produced by the Archive itself but, more often than not, arrangement with record companies was the principal method by which this material became available. One of the earliest collections of this type was a three-album boxed set drawn from the recordings made for the Archive by Huddie Ledbetter — Leadbelly — issued by Elektra in 1966. Edited by Lawrence Cohn, this compilation included a very useful booklet, with transcriptions of the songs and monologues contained in the albums, a résumé of Leadbelly‘s career, and a selection of important historical photographs. The remainder of Leadbelly‘s considerable body of recordings for the Archive, however, was generally unavailable, unless auditioned in Washington, D.C. In the history of vernacular black music in the U.S., Leadbelly‘s controversial role as a leading performer in white ‗folk‘ music circles has, for some, set him aside from other similar performers of his generation. -
Leadbelly Library of Congress Recordings Torrent
1 / 2 Leadbelly Library Of Congress Recordings Torrent the South looking for folk singers to record. He was told about Leadbelly, they met, and in July he recorded Leadbelly for the Library of. Congress. There were .... Leadbelly - The Remaining ARC & Library Of Congress Recordings Volume One (1997) [Flac] {DOCD-5591 - 1934-1935} 7 torrent download locations.. ... Global Jukebox · YouTube Channels · Podcast · Leadbelly and the Lomaxes ... Jelly Roll Morton: The Complete Library of Congress Recordings ... Together, at the Library of Congress in 1938, they made the first recorded oral history in jazz. ... Included as an Adobe PDF document are: a new, annotated transcription of the .... Leadbelly ARC & Library of Congress Recordings Vol. 4 (1935-1938) - DOCD-5594. Available on CD and Download only from The Document Records Store.. interested after listening to old Leadbelly recordings. Once Frost ... ing sessions with Leadbelly for the Library of Congress, attempting to make Leadbelly .... 1989 - Leadbelly, Woody Guthrie, Cisco Houston - Leadbelly Sings Folk Songs - 00:32:41 - 320 kbps ... 1991-1994 - The Library Of Congress Recordings Vol. 1-6 (6 CD) ... Blue-Tailed Fly (Jimmie, Crack Corn) [00:02:20] 11.. Recorded in February, 1935 (Date). John Lomax Southern States Collection (Source Note). Leadbelly and Lead Belly are stage names for .... In addition to recording scores of Leadbelly's songs for the Library of Congress archive, the. Lomaxes booked appearances for him at concerts and benefit .... File Name, Size. 5592 Volume 2/Leadbelly - The Remaining Library Of Congress Recordings Vol. 2 1935.flac, 144 MB. 5592 Volume 2/CD.png, 2.79 MB.. Below is Huddie Ledbetter's (known as "Lead Belly" or, less correct, "Leadbelly") complete discography (or, more technical, .. -
Alan Lomax Collection (AFC 2004/004): Radio Programs
American Folklife Center, Library of Congress Alan Lomax Radio-Related Materials, 1939–1969: A Guide Todd Harvey (2016) Contents Introduction .................................................................................................................................................. 3 Source Collections ......................................................................................................................................... 4 CBS (1939-1945) ............................................................................................................................................ 6 Radio Research Project ............................................................................................................................... 25 BBC (1943-1944) ......................................................................................................................................... 28 Armed Forces Radio Service (1945?) .......................................................................................................... 29 Mutual (1947-1949) .................................................................................................................................... 30 BBC (1951-1957) ......................................................................................................................................... 34 NBC (undated) ............................................................................................................................................. 39 U.S. Department of Health -
DOCUMENT RESUME SO 005 429 TITLE a Teacher's Guide To
DOCUMENT RESUME ED 073 036 SO 005 429 TITLE A Teacher's Guide to Folksinging. A Curriculum Guide for a High School Elective in Music Education. INSTITUTION New York State Education Dept., Albany. Bureau of Secondary Curriculum Development. PUB DATE 172] NOTE 33p. EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS Cultural Awareness; Folk Culture; *Music; Musical Instruments; *Music Appreciation; *Music Education; Resource Guides; Secondary Grades; Singing; Teaching Guides IDENTIFIERS *Folksinging ABSTRACT The material in this teacher's guide fora high school elective course may be used in a variety of curriculum designs--from a mini elective to a full year course. The rationale section explains that folksinging can be a valuable activity in the classroom by: 1) presenting a mirror for the student's personality and by being a useful tool for individual development; 2) allowing students to "act out" their impressions insong and thus allowing them to gain important insights and an empathy with people and situations that might never be gained through direct experience; 3) making it possible for students to transverse history, feel the pain of social injustice, lessen inhibitions, fulfill emotional needs, test creative talent, be given an outlet to their idealisticenergy, and find infinite pleasure in performing good music. Sections included in the guide are: Introduction: Philosophy and Rationale, InstructionAl Guidelines, Comments Concerning Equipment (folk instruments), and, A Representative Sampling of Multimedia Resource Materials (which includes books and periodicals, films, records, filmstrips and record sets, and record collections).Another document in this series is Teaching Guitar (SO 005 614). (Author/OPH) FD 07303t'; 1. -
American Folk Music and the Mass Media, 1933-1959 Kirstin Ek New
“A Precipice Between Deadly Perils”: American Folk Music and the Mass Media, 1933-1959 Kirstin Ek New York, New York M.A. Music Education, New York University, 2006 B.A. Music, Cornell University, 2004 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia December, 2014 ii Copyright © 2014 Kirstin Ek All Rights Reserved December 2014 iii Table of Contents List of Examples iv Acknowledgements v Introduction 1 1. From Canons to Fields: Shifting Frameworks for Understanding American 9 Folk Music Through 1959 2. A Craze in 3/4 Time: The Weavers, “Goodnight, Irene,” and the Commercial 52 Folk Music Phenomenon 3. The Common Man Meets the Matinee Idol: Harry Belafonte, Folk Identity, 124 and the 1950s Mass Media 4. Frontierland Animated: “Johnny Appleseed,” “Paul Bunyan,” and Walt 163 Disney’s Audio-Visual Construction of Commercial American Folk Culture Conclusions 218 Bibliography 222 iv List of Examples 1.1 Table comparing Francis Child’s, Cecil Sharp’s, and John Lomax’s respective folk 11 music collections 1.2 Frontispiece to Negro Folk Songs As Sung By Lead Belly 32 1.3 Lyrics to the Capitol recording of “Western Plain” 45 2.1 Melodic comparison of “Union Maid” and its melodic predecessors 61 2.2 Select versions of “Goodnight, Irene,” from Lead Belly through 1950 82 2.3 Lyrics to Lead Belly’s 1933 Angola Prison recordings of “Goodnight, Irene” 84 2.4 Lyrics to Lead Belly’s 1934 Angola Prison recordings of “Goodnight, Irene” -
The Romance of Lead Belly: Race and Activism in American Blues Music
THE ROMANCE OF LEAD BELLY: RACE AND ACTIVISM IN AMERICAN BLUES MUSIC A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Jonathan S. Lower August, 2014 Thesis written by Jonathan S. Lower B.A., Kent State University, 2012 M.A., Kent State University, 2014 Approved by _________________________________, Advisor Kenneth Bindas _________________________________, Chair, Department of History Kenneth Bindas _________________________________, Interim Dean, College of Arts and Sciences James L. Blank ii TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................. iv CHAPTER Page I INTRODUCTION ....................................................................................................... 1 II JAIL CELL BLUES ....................................................................................................... 9 III JIM CROW BLUES .................................................................................................. 44 IV BOURGEOISIE BLUES ............................................................................................. 79 V EPILOGUE ............................................................................................................ 113 BIBLIOGRAPHY ................................................................................................................ 116 iii LIST OF FIGURES Figure Page 1 Columbia University: Harlem Renaissance Archive ............................................ -
LOUISIANA Booklet
D EEP R IVER OF S ONG D EEP R IVER OF S ONG Louisiana Barrelhouse, Creole and Work Songs ROUNDER CD 0000 p © 2003 Rounder Records Corp., One Camp Street, Cambridge, Massachusetts 02140 USA. ROUNDER is a registered trademark of Rounder Records Corp. http://www.rounder.com email: [email protected] www.alan-lomax.com INTRODUCTION — John Cowley, Ph.D. (French) people of southern Louisiana, in that section known as the Evangeline country. These people yet invite John A. and Alan Lomax began collecting folk music groups of French singers to be present at weddings to using a cylinder machine, the earliest audio recording sing folk songs for the entertainment of guests, the technology employed by field researchers. They set out in singing being prolonged often until a late hour. Drinking 1933, traveling through Texas, Louisiana, Tennessee, and and singing always go together, the songs being passed Virginia and it was in Baton Rouge, Louisiana, on July 15, along by “word of mouth” instead of by the printed page. 1933, that they first switched to the newly- We made records of many of these songs, some of which manufactured portable aluminum disc apparatus. The we believe show undoubted evidence of indigenous ori- remainder of their 1933 recordings were made using this gin, though others are carry-overs from French sources. novel mechanism. In any event, the changes that have taken place in the process of oral transmission through generations should The 1933 Louisiana sessions date from a visit to the furnish matter of interest to scholars. It seems important Louisiana State Penitentiary at Angola (July 16–20) and to put into permanent form the actual singing of these constitute a simple snapshot of Louisiana’s black music songs while the rural life of that section of Louisiana repertoire. -
Lomax Bio Review
theguardian.com The Man Who Recorded the World: A Biography of Alan Lomax by John Szwed - review | Music Sean O'Hagan 8-10 minuten In 1955, "Rock Island Line" was a chart hit in Britain and America for Lonnie Donegan, the biggest star of the short-lived skiffle boom. Donegan was a huge influence on the young John Lennon, who formed his own skiffle group, the Quarrymen, in 1956. On 6 July that same year, the 15-year-old Paul McCartney, another Donegan fan, attended a church fete in Woolton village to hear the Quarrymen play. The rest, as they say, is history. Both Lennon and McCartney would have assumed that "Rock Island Line" was a Lonnie Donegan original, not least because it was credited to him on the record label and the song's sheet music. Donegan had assumed ownership of the song by simply claiming the British copyright, which was unregistered and considered to be in the public domain. It was written, though, by a black blues singer, Huddie Ledbetter, better known as Lead Belly. Back in the 1930s, the American song collectors John Lomax and his son, Alan, had recorded Lead Belly singing the song in Angola prison, Louisiana, where the blues musician was serving time for attempted murder. (Lead Belly sang several other originals for the Lomaxes, including "Goodnight, Irene", which subsequently became a huge hit for the folk group the Weavers.) Many of the songs collected by the Lomaxes were published in book compilations like Negro Folk Songs as Sung by Lead Belly (1936) and Folk Songs: USA (1946), which become primers for British skiffle and trad- folk groups, among others. -
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. -
Our Singing Country": John and Alan Lomax, Leadbelly, and the Construction of an American Past
"Our Singing Country": John and Alan Lomax, Leadbelly, and the Construction of an American Past By: BENJAMIN FILENE Filene, B. ”‘Our Singing Country’: John and Alan Lomax, Leadbelly, and the Construction of an American Past.” American Quarterly 43 (December 1991): 602-24. Made available courtesy of Johns Hopkins University Press: http://www.americanquarterly.org/ ***Note: Figures may be missing from this format of the document IN THE EARLY 1930s, JOHN A. LOMAX LOST HIS BANK JOB TO THE depression and his wife to illness. Needing to make a fresh start, Lomax returned to the vocation he truly loved, collecting American folk songs. In 1933 he persuaded the Macmillan publishing company to contract for a book of songs, lined up charitable foundations to support a collecting expedition, and enlisted the Library of Congress's Archive of American Folk Song to provide recording equipment and to be the official repository of the materials he gathered. Then, with his sev- enteen-year-old son Alan to assist him and a 350-pound Presto recording machine built into the back seat of his car, Lomax set off to spend a summer collecting America's music.1 The 1933 trip was only the first in a series of expeditions the Lomaxes made in the thirties and early forties, when they travelled tens of thousands of miles and made thousands of recordings.2 One of the first people the Lomaxes recorded in 1933 was an African- American singer and guitarist named Huddie Ledbetter or "Leadbelly." The Lomaxes "discovered" Leadbelly while searching southern prisons for Negro work songs. -
Railroad Songs and Ballads
Recording Laboratory AFS L61 Railroad Songs and Ballads From the Archive of Folk Song Edited by Archie Green Library of Congress Washington 1968 Library of Congress Catalog Card Number R67-3179 A vailable from the Library of Congress Mu sic Division, Recorded Sound Section Washington, D.C. 20540 PREFACE Few folksong collectors in the United States se lf a former Norfolk and Western employee , added have not encountered at least one railroad song, and a bit of oral wisdom to the program. He indicated few scholars have resisted the temptation to com· that firemen used to knot red bandanas around their ment on the meaning of such material. For a cen necks to keep from being burned by cinders before tury and a half the iron horse raced across the diesel fuel supplanted coal. The Stonemans sang continent; this journey was as mu ch in the imagina fo lksongs; "Pop" related a folk belief to the televi tion as it was over the land. When a train is seen in sion announcer. All folkSingers ought to be given a oral or written literature and music as a mythical similar opportunity to bedeck songs with custom steed it effaces human riders and han·dlers. Yet in and belief, for every folksong deserves a protective life each train is directed and cared for by muscle bandana as its own kind of pennant. and nerve. Hence . railroad lore fuses the sounds of A disciplined collector asks folksingers questions machines with the emotions of workers. Right-of which go beyond songs. In a sense, the folklorist way construction hands as well as operating and "flags" a song almost as a signalman flags a train.