Minstrel Man of the Appalachians
Author | : Harold H. Martin |
Publisher | : |
Total Pages | : 30 |
Release | : 1948 |
Genre | : Folk musicians |
ISBN | : |
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Author | : Harold H. Martin |
Publisher | : |
Total Pages | : 30 |
Release | : 1948 |
Genre | : Folk musicians |
ISBN | : |
Author | : Loyal Jones |
Publisher | : University Press of Kentucky |
Total Pages | : 406 |
Release | : 2021-10-21 |
Genre | : Biography & Autobiography |
ISBN | : 081318424X |
It is said that Bascom Lamar Lunsford would "cross hell on a rotten rail to get a folk song"—his Southern highlands folk-song compilations now constitute one of the largest collections of its kind in the Library of Congress—but he did much more than acquire songs. He preserved and promoted the Appalachian mountain tradition for generations of people, founding in 1928 the Mountain Dance and Folk Festival in Asheville, North Carolina, an annual event that has shaped America's festival movement. Loyal Jones pens a lively biography of a man considered to be Appalachian music royalty. He also includes a "Lunsford Sampler" of ballads, songs, hymns, tales, and anecdotes, plus a discography of his recordings.
Author | : Stella G. Stack |
Publisher | : |
Total Pages | : |
Release | : 1906 |
Genre | : African Americans |
ISBN | : |
Author | : Ronald D. Cohen |
Publisher | : Scarecrow Press |
Total Pages | : 192 |
Release | : 2008 |
Genre | : Music |
ISBN | : 9780810862029 |
This book presents a history of folk music festivals in the United States, beginning in the 19th century and ending in the early 21st century. The focus is on the proliferation and diversity of festivals in the 20th century.
Author | : John Angus McLeod |
Publisher | : |
Total Pages | : 49 |
Release | : 197? |
Genre | : Folk musicians |
ISBN | : |
Author | : Karen Linn |
Publisher | : University of Illinois Press |
Total Pages | : 212 |
Release | : 1994 |
Genre | : Music |
ISBN | : 9780252064333 |
Long a symbol of American culture, the banjo actually originated in Africa before European-Americans adopted it. Karen Linn shows how the banjo--despite design innovations and several modernizing agendas--has failed to escape its image as a "half-barbaric" instrument symbolic of antimodernism and sentimentalism. Caught in the morass of American racial attitudes and often used to express ambivalence toward modern industrial society, the banjo stood in opposition to the "official" values of rationalism, modernism, and belief in the beneficence of material progress. Linn uses popular literature, visual arts, advertisements, film, performance practices, instrument construction and decoration, and song lyrics to illustrate how notions about the banjo have changed. Linn also traces the instrument from its African origins through the 1980s, alternating between themes of urban modernization and rural nostalgia. She examines the banjo fad of bourgeois Northerners during the late nineteenth century; the African-American banjo tradition and the commercially popular cultural image of the southern black banjo player; the banjo's use in ragtime and early jazz; and the image of the white Southerner and mountaineer as banjo player.