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The study of 'Celtic' culture has been locked within modern nationalist paradigms, shaped by contemporary media, tourism, and labor migration. Celtic Modern collects critical essays on the global circulation of Celtic music, and the place of music in the construction of Celtic 'Imaginaries'. It provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany, and amongst Diasporas in Canada, the United States and Australia, with specific reference to pipe bands, traditional music education in Edinburgh, the politics of popular/traditional crossover in Ireland, and the Australian bush band phenomenon. Contributors include performer musicians as well as academic writers. Critique necessitates reflexivity, and all of the contributors, active and in many cases professional musicians as well as writers, reflect in their essays on their own contributions to these kind of encounters. Thus, this resource offers an opportunity to reflect critically on some of the insistent 'othering' that has accompanied much cultural production in and on the Celtic World, and that have prohibited serious critical engagement with what are sometimes described as the 'traditional' and 'folk' music of Europe.
What did popular song mean to people across the world during the First World War? For the first time, song repertoires and musical industries from countries on both sides in the Great War as well as from neutral countries are analysed in one exciting volume. Experts from around the world, and with very different approaches, bring to life the entertainment of a century ago, to show the role it played in the lives of our ancestors. The reader will meet the penniless lyricist, the theatre chain owner, the cross-dressing singer, fado composer, stage Scotsman or rhyming soldier, whether they come from Serbia, Britain, the USA, Germany, France, Portugal or elsewhere, in this fascinating exploration of showbiz before the generalization of the gramophone. Singing was a vector for patriotic support for the war, and sometimes for anti-war activism, but it was much more than that, and expressed and constructed debates, anxieties, social identities and changes in gender roles. This work, accompanied by many links to online recordings, will allow the reader to glimpse the complex role of popular song in people's lives in a period of total war.
The Formative Dylan examines the musical roots of 70 songs from Dylan's early career, namely from his first three Columbia LPs, officially released outtakes from those sessions, and his Broadside session recordings released by Folkways. Each of these songs is presented in a short article that details melodic and lyric roots and describes contemporaneous performances to show the process by which Dylan learned or composed his formative repertoire. Three appendixes help the reader to understand this repertoire not only in the continuum of American music but as a reflection of Dylan's own compositional development. The term "formative" conveys that at that early point in his career Dylan had not yet fully emerged as a composer. During his formative period, almost every song had a clear melodic or lyric predecessor. His influences and his own creativity had not quite meshed into an individual style. His repertoire ranged from traditional Appalachian songs to blues to topical-protest songs, representing the interaction between the traditional and popular streams of American music. Written during a ten-month Postdoctoral Fellowship at the Smithsonian Institution's Center for Folklife and Cultural Heritage, this book's primary resources were the Smithsonian's Ralph Rinzler Folklife Archives and Collections, the American Folklife Center at the Library of Congress, and the Library's Motion Picture, Broadcasting, and Recorded Sound Division.
This collection of essays explores a wide range of topics current in the field of music theory, including analytical methodologies for pretonal, tonal, and post-tonal music, assessment of notation as a vehicle for interpreting compositional strategies in different repertoires, and employment of approaches informed by cognitive, aesthetic, and ethnomusicological studies of music. Authors reflect critically on challenges within their specific areas of expertise and probe directions in which advances can be made and difficulties overcome. The results of these investigations will benefit readers, from early career researchers to experienced scholars, whose interests not only intersect with the topics presented here but which also encompass broad methodological issues affecting music theory.
Between 1959 and 1968, New England saw a folk revival emerge in more than fifty clubs and coffeehouses, a revolution led by college dropouts, young bohemians, and lovers of traditional music that renewed the work of the region's intellectuals and reformers. From Club 47 in Harvard Square to candlelit venues in Ipswich, Martha's Vineyard, and Amherst, budding musicians and hopeful audiences alike embraced folk music, progressive ideals, and community as alternatives to an increasingly toxic consumer culture. While the Boston-Cambridge Folk Revival was short-lived, the youthful attention that it spurred played a crucial role in the civil rights, world peace, and back-to-the-land movements emerging across the country. Fueled by interviews with key players from the folk music scene, I Believe I'll Go Back Home traces a direct line from Yankee revolutionaries, up-country dancers, and nineteenth-century pacifists to the emergence of blues and rock 'n' roll, ultimately landing at the period of the folk revival. Thomas S. Curren presents the richness and diversity of the New England folk tradition, which continues to provide perspective, inspiration, and healing in the present day.
A series of little books of short carefully graded folk tunes beginning with the simplest passages and progressing to more difficult leaps, rhythms, chromatics, and modulations. The later books introduce two-part sight singing.
This book investigates the spectrum of meaning inherent in six orchestral works by Leos Janacek. It codifies his compositional style, first through a thorough examination of its origins in folk music and speech-melody, then in discussions of the features of its melody and motivic techniques. His harmonic style and multiple organizations of tonality are examined in rich detail. The analysis section consists of the examination of each musical work's musical elements, its affective and programmatic associations, as well as four narrative codes through which the listener discovers further meaning in the work: the hermeneutic code (which governs enigmas), the semic code of musical motives, the proairetic (formal) code, and the referential code (which draws on analogous passages from other pieces of music).
Released in 1952, the Anthology of American Folk Music was the singular vision of the enigmatic artist, musicologist, and collector Harry Smith (1923-1991). A collection of eighty-four commercial recordings of American vernacular and folk music originally issued between 1927 and 1932, the Anthology featured an eclectic and idiosyncratic mixture of blues and hillbilly songs, ballads old and new, dance music, gospel, and numerous other performances less easy to classify. Where previous collections of folk music, both printed and recorded, had privileged field recordings and oral transmission, Smith purposefully shaped his collection from previously released commercial records, pointedly blurring established racial boundaries in his selection and organisation of performances. Indeed, more than just a ground-breaking collection of old recordings, the Anthology was itself a kind of performance on the part of its creator. Over the six decades of its existence, however, it has continued to exert considerable influence on generations of musicians, artists, and writers. It has been credited with inspiring the North American folk revival-"The Anthology was our bible", asserted Dave Van Ronk in 1991, "We all knew every word of every song on it"-and with profoundly influencing Bob Dylan. After its 1997 release on CD by Smithsonian Folkways, it came to be closely associated with the so-called Americana and Alt-Country movements of the late 1990s and early 2000s. Following its sixtieth birthday, and now available as a digital download and rereleased on vinyl, it is once again a prominent icon in numerous musical currents and popular culture more generally. This is the first book devoted to such a vital piece of the large and complex story of American music and its enduring value in American life. Reflecting the intrinsic interdisciplinarity of Smith's original project, this collection contains a variety of new perspectives on all aspects of the Anthology.
Undoubtedly the most popular book in American labor history, the I.W.W.'s 'Little Red Song Book' has been a staple item on picket lines and at other workers' gatherings for generations, and has gone through numerous editions. As a result of I.W.W. efforts to keep up with the times, however, recent versions of the songbook have omitted most of the old-time favorites. The steadily mounting interest in Wobbly history warrants this facsimile edition from the union's Golden Age. 90 years ago these songs were sung with gusto in Wobbly halls, and they're still fun to sing today
First published in 1855, George Petrie's "The Petrie Collection of the Ancient Music of Ireland," is widely regarded as one of the most important nineteenth-century collections of traditional Irish music. It contains nearly two hundred melodies collected by Petrie as well as song texts in Irish and English and detailed notes by Petrie about the sources of the songs or pieces. The collection, which was originally published under the auspices of the Society for the Preservation and Publication of the Melodies of Ireland, has been out of print for many years and the few remaining copies are now extremely rare collector's items. This new edition contains all of Petrie's original text, the melodies and his introduction. The text is prefaced with an illuminating biographical essay which positions the collection in the context of Petrie's life, his work and within the broader field of Irish traditional music. In Petrie's 1855 collection, he provides piano accompaniments written by his daughter for the melodies. As these are stylistically inappropriate, the melodies are returned to the form in which Petrie notated them, by reference to Stanford's "The Complete Collection of the Ancient Music of Ireland as Noted by George Petrie (1789-1866)" and the original manuscripts held in the National Library of Ireland. This new edition also contains a completely reset version of the text in which the Irish spelling has been modernized and a standard font adopted. The new edition of this book will form an invaluable addition to the bookshelves of both students and performers of Irish traditional music.
(Music Sales America). This book is a major collection of traditional Irish slow airs that captures the essence and beauty of Irish traditional music. Included in the 118 airs that make up this fabulous compilation, are some of the great sean-nos (old style) airs as well as tunes by Caloran and other favorite and well-known pieces. Author Tomas O'Canainn has a lifetime of experience both performing and teaching Irish music and his selection of beautiful, soaring and majestic slow airs is ideal for extending your repertoire for any melody instrument. These relatively easy pieces are also suitable for those approaching Irish slow airs for the first time. 2 CDs are available, presenting every tune in the book played by the author and an ensemble of expert traditional musicians so you can hear how the pieces should sound.
An unorthodox musician from the start, singer-songwriter Joni Mitchell's style of composing, performing, and of playing (and tuning) the guitar is unique. In the framework of sexual difference and the gendered discourses of rock this immediately begs the questions: are Mitchell's songs specifically feminine and, if so, to what extent and why? Anne Karppinen addresses this question focusing on the kind of music and lyrics Mitchell writes, the representation of men and women in her lyrics, how her style changes and evolves over time, and how cultural context affects her writing. Linked to this are the concepts of subjectivity and authorship: when a singer-songwriter sings a song in the first person, about whom are they actually singing? Mitchell offers a fascinating study, for the songs she writes and sings are intricately woven from the strands of her own life. Using methods from critical discourse analysis, this book examines recorded performances of songs from Mitchell's first nine studio albums, and the contemporary reviews of these albums in Anglo-American rock magazines. In one of the only books to discuss Mitchell's recorded performances, with a focus that extends beyond the seminal album Blue, Karppinen explores the craft of Mitchell's songwriting and her own attitudes towards it, as well as the dynamics and politics of rock criticism in the 1960s and 1970s more generally.
Leonard Cohen, one of the most important and influential artists of our era, is a man of powerful emotion and intelligence whose work has explored the essential issues of human life--sex, religion, power, love. Cohen is also a man of complexities and seeming contradictions: a devout Jew, who is also a sophisticate and a ladies' man, as well as an ordained Buddhist monk whose name, Jikan--"ordinary silence"--is quite the appellation for a writer and singer whose life has been anything but ordinary.
I'm Your Man is the definitive account of that extraordinary life. Starting in Montreal, Cohen's birthplace, acclaimed music journalist Sylvie Simmons follows his trail, via London and the Greek island of Hydra, to New York in the sixties, where Cohen launched his career in music. From there she traces the arc of his prodigious achievements to his remarkable retreat in the mid-nineties and his reemergence for a sold-out world tour almost fifteen years later. Whether navigating Cohen's journeys through the backstreets of Mumbai or his countless hotel rooms along the way, Simmons explores with equal focus every complex, contradictory strand of Cohen's life and presents a deeply insightful portrait of the vision, spirit, depth, and talent of an artist and a man who continues to move people like no one else.
Originally published in 1995. This book's collection of key essays presents a coherent overview of touchstone statements and issues in the study of Anglo-American popular ballad traditions and suggests ways this panoramic view affords us a look at Euro-American scholarship's questions, concerns and methods. The study of ballads in English began early in the eighteenth century with Joseph Addison's discussions which marked the onset of an aesthetic and scholarly interest in popular traditions. Therefore the collection begins with him and then chronologically includes scholars whose views mark pivotal moments which taken together tell a story that does not emerge through an examination of the ballads themselves. The book addresses debates in tradition, orality, performance and community as well as national genealogies and connections to contexts. Each selected piece is pre-empted by an introductory section on its importance and relevance.
Focus: Scottish Traditional Music engages methods from ethnomusicology, popular music studies, cultural studies, and media studies to explain how complex Scottish identities and culture are constructed in the traditional music and culture of Scotland. This book examines Scottish music through their social and performative contexts, outlining vocal traditions such as lullabies, mining songs, Scottish ballads, herding songs, and protest songs as well as instrumental traditions such as fiddle music, country dances, and informal evening pub sessions. Case studies explore the key ideas in understanding Scotland musically by exploring ethnicity, Britishness, belonging, politics, transmission and performance, positioning the cultural identity of Scotland within the United Kingdom. Visit the author's companion website at http://www.scottishtraditionalmusic.org/ for additional resources.
'Probably the most ambitious, generous and thorough volume about a musician to see publication' Mouth Magazine The authorised companion to the music of Nick Drake, compiled, composed and edited by Cally Callomon and Gabrielle Drake, with contributions from Nick's friends, critics, adherents, family and from Nick Drake himself. Remembered For A While is not a biography. It is, rather, an attempt to cast a few shards of light on Nick Drake the poet, the musician, the singer, the friend, son and brother, who was also more than all of these. We hope it will accompany all those in search of an elusive artist, whose haunting presence defies analysis. The book contains: * In-depth interviews with many of Nick's friends, most notably Paul Wheeler, Nick's close friend from Cambridge days, a singer-songwriter who, of all Nick's friends, perhaps best understood, from personal experience, Nick's journey through musical creation to despair and back again. * A selection of photos from all eras - some never seen before - with reproductions of documents such as the scrapbook Molly Drake kept of her son's press cuttings, and the original and rejected album covers. * Images of Nick's handwritten and typed lyrics, including the lyrics of some songs for which the music has never been found. * Newly commissioned pieces by Nick's friends Jeremy Harmer, Brian Wells, Robin Frederick and the poet Will Stone. Contributions also from the sleeve designer Michael Trevithick, Island Records's Ann Sullivan and the photographer and artist Nigel Waymouth. *Extracts from Nick's letters - part of an extensive correspondence that exists between Nick and his parents, which charts their relationship from the time he first went to boarding school until the time he came home, when his depression had settled upon him and he felt he had nowhere else to go. From this point, Nick's life was documented by his father, Rodney Drake, who kept a detailed diary, as he and his wife Molly struggled to understand their son's state of mind and how to help him. Passages from this poignant record are included. * A short musical guide to each song's key and tuning to accompany the lyrics, together with an explanatory interpretation of Nick's guitar performance, the result of several years close study by singer-songwriter Chris Healey. * A comprehensive guide to all of Nick's live performances. * And a lengthy essay by noted music critic Pete Paphides, which includes interviews with Nick's musical collaborators and friends - his producer Joe Boyd, his recording engineer John Wood and his orchestrator, the late Robert Kirby - as well as descriptions of the recording process of each album.
This companion to The Ethnomusicologists' Cookbook combines scholarship with a unique approach to the study of the world's foods, musics, and cultures. Covering over four dozen regions, the entries in these collection each include a regional food-related proverb, a recipe for a complete meal, a list of companion readings and listening pieces, and a short essay that highlights the significant links between music and food in the area. The Ethnomusicologists' Cookbook, Volume 2 will appeal to ethnomusicologists, anthropologists, and sociologists, but should also find a welcome place on the bookshelf of anyone who enjoys eating and learning about foods from around the world.
How big an act was the Kingston Trio? Big enough that the their first 19 albums not only reached Billboard's Top 100, but 14 of them entered the top 10, with five albums alone hitting the no. 1 spot! At the height of their popularity, the Kingston Trio was arguably the most popular vocal group in the world, having single-handedly ushered in the folk music boom of the late '50s and early '60s. Their meteoric rise quite literally paved the way for Bob Dylan; Joan Baez; Peter, Paul & Mary; and the many acts that followed in their wake. With the release of their version of "Tom Dooley" in fall 1958, the Kingston Trio changed American popular music forever, inspiring legions of young listeners to pick up guitars and banjoes and join together in hootenannies and sing-alongs. In Greenback Dollar: The Incredible Rise of The Kingston Trio, the first in-depth biography of America's first recording super-group, William J. Bush retraces the band members' personal and professional lives, from their rapid rise to stardom to their early retirement in 1967. Through interviews with Trio members, their families, and associates, Bush paints a detailed portrait of the Trio's formative early years and sudden popular success, their innovations in recording technology, pioneering of the college concert and intensive tour schedule, their impact on and response to the '60s protest movement, the first break-up of the Trio with Dave Guard's departure, and its re-formation with John Stewart. Lovers of folk music and students and scholars of the history of popular music and the music business, the counterculture movement, and the American folk tradition will find in Greenback Dollar a remarkably detailed view of the musical and cultural legacy that resulted in the Kingston Trio receiving a 2011 Lifetime Achievement Award at the 53rd Annual Grammy Awards.
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