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Carnival, charivari, mumming plays, peasant festivals, and even early versions of the Santa Claus myth--all of these forms of entertainment influenced and shaped blackface minstrelsy in the first half of the nineteenth century. In his fascinating study Demons of Disorder, musicologist Dale Cockrell studies issues of race and class by analyzing their cultural expressions, and investigates the roots of still-remembered songs such as "Jim Crow," "Zip Coon," and "Dan Tucker." The first book on the blackface tradition written by a leading musicologist, Demons of Disorder is an important achievement in music history and culture.
During the 1990s, Asian pop artists began entering the mainstream of the British music industry for the first time. Bands such as Black Star Liner, Cornershop, Fun Da Mental and Voodoo Queens, led those within and without the industry to start asking questions such as what did it mean to be Asian? How did the bands' Asian background affect their music? What did their music say about Asians in Britain? In this book, Rehan Hyder draws on in-depth interviews with musicians from these bands and with critics and record producers, to examine the pressures associated with making music as a young Asian in today's multi-ethnic Britain. As the book reveals, these musicians wish to convey an authentic sense of creativity in their music, while at the same time wanting to assert a positive ethnic identity. Hyder explores these two impulses against the backdrop of a music industry and a society at large that hold a range of confining stereotypes about what it means to be Asian. The experiences of these bands add considerably to the wider debate about the nature of identity in the contemporary world.
The fast-paced zouk of Kassav', the romantic biguine of Malavoi,
the jazz of Fal Frett, the ballads of Mona, and reggae of Kali and
Poglo are all part of the burgeoning popular music scene in the
French Caribbean. In this lively book, Brenda F. Berrian chronicles
the rise of this music, which has captivated the minds and bodies
of the Francophone world and elsewhere.
This title was first published in 2003. This work considers the post-war folk revival in Britain from a popular music studies perspective. Michael Brocken provides a historical narrative of the folk revival from the 1940s up until the 1990s, beginning with the emergence of the revival from within and around the left-wing movements of the 1940s and 1950s. Key figures and organizations such as the Workers' Music Association, the BBC, the English Folk Dance and Song Society, A.L. Lloyd and Ewan MacColl are examined closely. By looking at the work of British Communist Party splinter groups it is possible to see the refraction of folk music as a political tool. Brocken openly challenges folk historicity and internal narrative by discussing the convergence of folk and pop during the 1950s and 1960s. The significant development of the folk/rock hybrid is considered alongside "class", "Americana", radio and the strength of pop culture. Brocken shows how the dichotomy of artistic (natural) versus industry (mass-produced) music since the 1970s has led to a fragmentation and constriction of the folk revival. The study concludes with a look at the upsurge of the folk music industry, the growth of festivals and the implications of the Internet for the British folk revival. Brocken suggests the way forward should involve an acknowledgement that folk music is not superior to but is, in fact, a form of popular music.
Contents include: Canada I-O (Nic Jones); Glorishears (Marton Carthy); Spanish Morris (Mike Raven); and Naked Highwayman (Steve Tilston).
Rob Young investigates how the idea of folk has been handed down and transformed by successive generations - song collectors, composers, Marxist revivalists, folk-rockers, psychedelic voyagers, free festival-goers, experimental pop stars and electronic innovators.
In a sweeping panorama of Albion's soundscape that takes in the pioneer spirit of Cecil Sharp; the pastoral classicism of Ralph Vaughan Williams and Peter Warlock; the industrial folk revival of Ewan MacColl and A. L. Lloyd; the folk-rock of Fairport Convention, Sandy Denny, Nick Drake, Shirley Collins, John Martyn and Pentangle; the bucolic psychedelia of The Incredible String Band, The Beatles and Pink Floyd; the acid folk of Comus, Forest, Mr Fox and Trees; The Wicker Man and occult folklore; the early Glastonbury and Stonehenge festivals; and the visionary pop of Kate Bush, Julian Cope and Talk Talk, Electric Eden maps out a native British musical voice that reflects the complex relationships between town and country, progress and nostalgia, radicalism and conservatism.
An attempt to isolate the 'Britishness' of British music - a wild combination of pagan echoes, spiritual quest, imaginative time-travel, pastoral innocence and electrified creativity - Electric Eden will be treasured by anyone interested in the tangled story of Britain's folk music and Arcadian dreams.
For almost 50 years, Dave Hadfield has followed the genres of music that grabbed his youthful heart and mind. Now, in 'All the Wrong Notes' he has written not just a musical memoir, but a personal and social history of the last half-century. Like a Zelig with a finger in his ear, he has been where folk music has happened and describes it, affectionately but warts-and-all, in a way it has never been described before.
This--the performers' edition of the massive New Oxford Book of Carols--is a selection of 120 carols in 173 different settings. The music, which is divided into composed carols and traditional carols, covers nine centuries of Christmas music from around the world. Popular and unknown material is included: the settings are straightforward and each carol is accompanied by a note on historical background. The emphasis is on the fresh approach to the carol, and the editors have cleared away the accretions of years to recapture the original spirit and vigor of the music. Selections from the book are featured on EMI Classic's recordings "The Carol Album," "The Christmas Album," and "Carol Album 2," performed by the Taverner Consort, Choir, and Players under the direction of Andrew Parrott.
(Music Sales America). Miles Krassen has gathered and re-edited over 1,000 tunes, bringing up to date Capt. Francis O'Neill's famed collection of Irish dance music, airs, jigs, reels, hornpipes, and marches. Includes an introduction on the history of Irish music with tips on playing with an authentic feeling. Features new settings from the playing of Michael Coleman & the Sligo Fiddle Masters.
From the oldest surviving Japanese manuscripts in tablature (ninth- fourteenth-centuries) the book provides transcripts into staff-notation of (largely) entertainment-music, played at banquets at the Chinese Court in the Tang period, borrowed by the Japanese not later than 841. The music has never been transcribed before and has not been heard for 800 years or more, so drastically has it been transformed in Japanese performance. The history of each piece of music, as given in Chinese and Japanese historical sources, is investigated. The music itself is subjected to formal analysis, revealing its structure, its modal dynamics, and the methods of composition. For much of the music, ballet-scores survive from the mid-thirteenth century, and it is hoped that these may be associated fascicles with the music as transcribed in future fascicles. Fascicle 5 offers one immense suite, the origins of which lie in sixth-century China: 'The King of the Grave-Mound' (Ryo-o), together with single-stave versions and analyses of upwards of twenty items from previous fascicles and a summary essay restating views on the nature of 'Tang Music' (Togaku).
Taking Grainger's views as his starting point and heading each chapter with a quotation from Grainger's writings, John Blacking restates and reflects upon observations and attitudes relevant to contemporary problems of ethnomusicology and music education. Professor Blacking discusses these issues in the light of his own research, musical experience and convictions.
Dolly Parton's success as a performer and pop culture phenomenon has overshadowed her achievements as a songwriter. But she sees herself as a songwriter first, and with good reason. Parton's compositions like "I Will Always Love You" and "Jolene" have become American standards with an impact far beyond country music. Lydia R. Hamessley's expert analysis and Parton's characteristically straightforward input inform this comprehensive look at the process, influences, and themes that have shaped the superstar's songwriting artistry. Hamessley reveals how Parton's loving, hardscrabble childhood in the Smoky Mountains provided the musical language, rhythms, and memories of old-time music that resonate in so many of her songs. Hamessley further provides an understanding of how Parton combines her cultural and musical heritage with an artisan's sense of craft and design to compose eloquent, painfully honest, and gripping songs about women's lives, poverty, heartbreak, inspiration, and love.Filled with insights on hit songs and less familiar gems, Unlikely Angel covers the full arc of Dolly Parton's career and offers an unprecedented look at the creative force behind the image.
First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
Masters of Contemporary Brazilian Song is a critical study of MPB (m sica popular brasileira), a term that refers to varieties of urban popular music of the 1960s and 1970s, incorporating samba, Bossa Nova, and new materials.
During the two centuries before 841, the Japanese Court borrowed a large amount of secular entertainment music from China, chiefly music of the Sui and Tang Courts. This music, known as 'Tang Music' is preserved in manuscripts written between the eighth and thirteenth centuries and to be seen today in the library of the Imperial Palace in Tokyo and in other Japanese libraries. Fourteen items, from the second scroll of pieces belonging to the Ichikotsu-cho mode-key group (Mixolydian on D), are offered in this fourth fascicle of Music from the Tang Court. With the exception of two items, each consisting of Prelude and Broaching, all are single movements. The first piece, in two movements, is overtly linked with Sogdiana, the Central Asian State which exerted so great an influence on the entertainment-music of the Tang Court. That some of the Togaku repertory had its roots in popular music is plainly shown by the title of this piece: 'Sogdians Drinking Wine'.
During the two centuries before 841, the Japanese Court borrowed a large amount of secular entertainment music from China, chiefly music of the Sui and Tang Courts. This music, known as 'Tang Music' is preserved in manuscripts written between the eighth and thirteenth centuries and to be seen today in the library of the Imperial Palace in Tokyo and in other Japanese libraries. With Fascicle 3 the series will begin publication of smaller suites and pieces, together representative of the 'middle-sized pieces' and 'small pieces' (chukyoku and shokyoku) of the threefold classification, in which the daikyoku are the largest suites. O-dai hajin-raku from a reputedly eleventh-century manuscript: Kaicbu-fu, in parallel with the conflation discussed in Fascicle 2, together with single-stave, conflated, justified versions of Toraden and Shunno-den, and structural analyses of these two suites.
During the two centuries before 841, the Japanese Court borrowed a large amount of secular entertainment music from China, chiefly music of the Sui and Tang Courts. This music, known as 'Tang Music' is preserved in manuscripts written between the eighth and thirteenth centuries and to be seen today in the library of the Imperial Palace in Tokyo and in other Japanese libraries. This second fascicle includes two further suites from the Ichikotsu-cho mode-key group, namely Toraden, which probably originated in the early eighth century, and Shunno-den, a ballet-suite believed to have its source in a late seventh-century piece in imitation of Cettia diphone cantans - a bush warbler with a nightingale-like song. In addition, and continuing the study of the first fascicle, a justified, conflated text of O-dai hajin-raku on a single stave will be included. In the light of this, a version for performance can be established.
Originally published in 1973. Folk-life and folk-culture, usually the preserve of the scholar, have been brought vividly and entertainingly to life in these recollections and stories of one man's life in the Irish countryside. This book tells the life story of John Maguire, who died in 1975, including over 50 of the songs he sang, with full musical transcriptions. He was a fine singer, firmly within the Irish tradition, and his songs are the record of a people, their history and traditions, their joys and sufferings, their comedies and tragedies. John Maguire's fascinating story, skilfully and unobtrusively collated by Robin Morton, is full of material that will interest singers and students of folksongs. His songs and music will be of value to all those interested in traditional music and song.
Originally published in 1980. Song is perhaps the strongest form of traditional culture. Its vigour and energy represent the power of the community from which it springs. This book focuses on traditional singing in two small English villages. It studies in detail an activity which goes to the core of the communal life in any village and demonstrates how song becomes the lifeblood of the traditions of rural life. In many ways traditional singing is highly subversive because its practice is an affirmation of community and a denial of the fragmentation of modern society. The songs sung, those remembered, the singers now dead whose lives are recalled each time an old favourite is performed, all connect the present with the past. The primary aesthetic concern within these singing traditions is that a man should sing, whatever the objective quality of his performance; and a song should tell a good story. The individual singer assumes a special role in performance since he becomes spokesman for a group and gives voice not only to personal but also to social concerns, dynamics and emotions.
Originally published in 1982. The songs on which this study is based were once vibrant in the throats and ears and minds of living people. This book examines the songs and their meanings in relation to the lives of those people, and relates them to the cultural tradition and practice of which they were an integral part. The art of village song represents a sense of cohesiveness and mutual identity around local patterns of kinship, social groupings, territorial orientations and cultural relationships. The actual ways in which songs were part of village life is of course highly problematic, but this book endeavours, most of all, to present an understanding of the place of song in the social life of villagers.
With his musical partner, Roy Williamson, Ronnie Browne became a national and international figure as one half of The Corries. His autobiography describes his childhood in war time and the austerity Britain of the 1950s and 60s, his musical career including Scotland's unofficial national anthem, Flower of Scotland, the death of Roy Williamson, and the following years as a solo artist. Through all of this time he has been an active and sought after painter and portraitist. Ronnie's account of his life is both funny and fascinating.
Originally published in 1983. Song has always been a natural way to record everyday experiences - an expression of celebration, commiseration, complaint and protest. This innovative book is a study of popular and working-class song combining several approaches to the subject. It is a history of working-class song in Britain which concentrates not simply on the songs and the singers but attempts to locate such song in its cultural context and apply principles of literary criticism to this essentially oral medium. It triggered controversy: some critics castigated its Marxist approach, others enthused that 'such unabashed partisanship amply reveals the outstanding characteristic of Watson's book'. The author discusses the way in which the popular song, from Victorian times onwards, has been forced by the entertainment industry out of its roots in popular culture, to become a blander form of art with minimal critical potential. The book ends by considering the possibilities for a continued flourishing of a genuine popular song culture in an electronic age. It has become a standard title in bibliographies and curricula. Much has changed since 1983, not least in music; but this then innovative book still has a lot to say about popular song in its social and historical context.
Originally published in 1968. The author, a well-known contemporary and friend of folklorist Katharine M. Briggs, collected a tremendous store of folk music material over many years and eventually decided to put some of it on permanent record. This book comprises a cross-section of rescued melodies dating back to medieval days and up to the Victorian early ballads. It describes individual folk singers in Somerset in great detail as personal accounts and documents their lyrics and their tunes, which are all together at the end of the volume.
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