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In African American Folksong and American Cultural Politics: The Lawrence Gellert Story, scholar and musician Bruce Conforth tells the story of one of the most unusual collections of African American folk music ever amassed-and the remarkable story of the man who produced it: Lawrence Gellert. Compiled between the World Wars, Gellert's recordings were immediately adopted by the American Left as the voice of the true American proletariat, with the songs-largely variants of traditional work songs or blues-dubbed by the Left as "songs of protest." As both the songs and Gellert's standing itself turned into propaganda weapons of left-wing agitators, Gellert experienced a meteoric rise within the circles of left-wing organizations and the American Communist party. But such success proved ephemeral, with Gellert contributing to his own neglect by steadfastly refusing to release information about where and from whom he had collected his recordings. Later scholars, as a result, would skip over his closely held, largely inaccessible research, with some asserting Gellert's work had been doctored for political purposes. And to a certain extent they were correct. Conforth reveals how Gellert at least "assisted" in the creation of some of his more political material. But hidden behind the few protest songs that Gellert allowed to become public was a vast body of legitimate African America folksongs-enough to rival the work of any of his contemporary collectors. Had Gellert granted access to all his material, scholars would have quickly seen that it comprised an incredibly complete and diverse collection of all African American song genres: work songs, blues, chants, spirituals, as well as the largest body of African American folktales about Irish Americans (what were referred to as "One Time I'shman" tales). It also included vast swaths of African American oral literature collected by Gellert as part of the Federal Writers' Project. In African American Folksong and American Cultural Politics, Conforth brings to light for the first time the entire body of work collected by Lawrence Gellert, establishing his place, and the place for the material he collected, within the pages of American folk song scholarship. In addition to shedding new light on the concept of "protest music" within African American folk music, Conforth discusses the unique relationship of the American Left to this music and how personal psychology and the demands of the American Communist party would come to ruin Gellert's life. African American Folksong and American Cultural Politics will appeal to students and scholars in the fields of American social and political history, African American studies, the history of American folk music, and ethnomusicology.
Folk-Songs of the South: Collected Under the Auspices of the West Virginia Folk-Lore Society is a collection of ballads and folk-songs from West Virginia. First published in 1925, this resource includes narrative and lyric songs that were transmitted orally, as well as popular songs from print sources. Through 186 ballads and songs and 26 folk tunes, this collection archives a range of styles and genres, from English and Scottish ballads to songs about the Revolutionary and Civil Wars, the opening of the American West and boat and railroad transportation. It includes children's play-party and dance music, songs from African American singers, and post-Civil War popular music. The original introduction by Cox contains vibrant portraits of the singers he researched, with descriptions of performance style and details about personalities and attitudes. With an introduction by Alan Jabbour, this edition renews the importance of this text as a piece of scholarship, revealing Cox's understanding of the workings of tradition across time and place and his influence upon folk-song research.
In this vivid musical ethnography, Timothy Rice documents and
interprets the history of folk music, song, and dance in Bulgaria
over a seventy-year period of dramatic change. From 1920 to 1989,
Bulgaria changed from a nearly medieval village society to a
Stalinist planned industrial economy to a chaotic mix of capitalist
and socialist markets and cultures.
In the third book of the Andalusian Mystery Series, DI Leon Prado with translators, American videographer Amanda Salisbury, and ex-British soldier Phillip Armitage, continue their hunt for an elusive criminal mastermind and investigate an intriguing new case in the world of Flamenco. Salome Mendosa was adopted as a baby and knows nothing of her roots. Her idyllic life as one of Spain's top Flamenco dancers is turned upside down when she is invited to a lawyer's office in the ancient town of Velez-Malaga to receive information concerning her birth family. Desperate but nervous to learn of her heritage, she begs Amanda Salisbury, her former college roommate, to accompany her. Salome's ancestors were not as angelic as she'd wished for. A poisonous legend concerning her late grandfather leads them on a dangerous journey back to the horrors of the Spanish Civil War, pits them against the local gypsy community, and seriously strains their relationship.
Immerse students in the music traditions of the Irish, one of North America's largest ethnic populations. Across the Water: Teaching Irish Music and Dance at Home and Abroad gives general music teachers the tools to introduce the music and dance of Ireland while respecting the music's cultural origins. An overview of the history of Irish traditional music provides a basic understanding of the political and cultural events that have influenced this musical style. Readers learn how Irish traditional music is viewed both in formal and informal schools in Ireland and find a literature review of current ethnomusicology and world music resources. Music teachers can follow the ready-to-use, 8- to 10-week music unit and use the accompanying CD full of authentic materials that the author collected while living in Limerick, Ireland. Recorded in the field, these materials will bring master teachers to the classroom with song, ceili bands, and Irish step and set dancing. Units with Irish ceili assessments.
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.
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