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Books on the topic 'Staged music folklore'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Hinson, Glenn. Folklife. Chapel Hill: University of North Carolina Press, 2009.

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Hinson, Glenn. Folklife. Chapel Hill: University of North Carolina Press, 2009.

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3

Glenn, Hinson, Ferris William R, and University of Mississippi. Center for the Study of Southern Culture., eds. Folklife. Chapel Hill: University of North Carolina Press, 2009.

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4

Grayden, Paul, and Beaufort Historical Association, eds. Carteret County, North Carolina: History & folklore. Charleston, SC: History Press, 2008.

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5

Milnes, Gerald. Play of a fiddle: Traditional music, dance, and folklore in West Virginia. Lexington, Ky: University Press of Kentucky, 1999.

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6

Vance, Randolph. Unprintable Ozark folksongs and folklore. Fayetteville: University of Arkansas Press, 1992.

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7

If Beale Street could talk: Music, community, culture. Urbana: University of Illinois Press, 2008.

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8

Gonzalves, Theodore S. The day the dancers stayed: Performing in the Filipino-American diaspora. Philadelphia: Temple University Press, 2009.

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9

Sanders, Lynn Moss. Howard W. Odum's folklore odyssey: Transformation to tolerance through African American folk studies. Athens, GA: University of Georgia Press, 2004.

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10

Howard W. Odum's folklore odyssey: Transformation to tolerance through African American folk studies. Athens: University of Georgia Press, 2003.

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11

Hodge, Larry D. Texas tales in words and music. Plano, Tex: Republic of Texas Press, 2001.

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12

Ülkemizde Halk Eğitiminin Amacı, Önemive Gerekliliği Sempozyumu (2001 Istanbul, Turkey). Ülkemizde Halk Eğitiminin Amacı, Önemi ve Gerekliliği Sempozyumu: 23-24 Mayıs 2001. Ankara: T.C. Kültür Bakanlığı, 2002.

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13

Stagolee shot Billy. Cambridge, Mass. [u.a.]: Harvard Univ. Press, 2004.

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14

Smithsonian Folklife Festival (2008 Washington, D.C.). The 2008 Smithsonian Folklife Festival: Bhutan, land of the Thunder Dragon ; NASA, fifty years and beyond ; Texas, a celebration of music, food and wine. Washington: Smithsonian Institution Center for Folklife and Cultural Heritage, 2008.

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15

Kidd, Ronald. On top of Old Smoky: A collection of songs and stories from Appalachia. Nashville, TN: Ideals Children's Books, 1992.

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16

Make merry in step and song: A seasonal treasury of music, mummer's plays & celebrations in the English folk tradition. Woodbury, Minn: Llewellyn Publications, 2008.

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17

Stagolee shot Billy. Cambridge, Mass: Harvard University Press, 2003.

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18

Sawin, Patricia. Listening for a life: A dialogic ethnography of Bessie Eldreth through her songs and stories. Logan: Utah State University Press, 2004.

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19

McNeil, W. K. Ozark country. Jackson: University Press of Mississippi, 1995.

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20

M, Holloway Kimberley, ed. From a race of storytellers: Essays on the ballad novels of Sharyn McCrumb. Macon, Ga: Mercer University Press, 2003.

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21

Connecting cultures: A guide to multicultural literature for children. New Providence, N.J: R.R. Bowker, 1996.

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22

Hanʼguk sosŏl ŭi pundan iyagi. Sŏul-si: Chʻaek Sesang, 2006.

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23

Lange, Barbara Rose. Banda and the Slovak Folk Revival. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0005.

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Chapter 4 discusses the Slovak folk revival of the 1990s–2000s with a case study of the musical group Banda. In Slovakia, audiences continued to enjoy styles of staged folklore from the communist era, but revivalists opposed these older styles and were outspoken in rejecting them. The chapter describes how revival folklorism is part of a movement to rediscover and reimagine Slovakia that sprang up in the 1990s; revivalists wanted to expand styles of rural music-making that existed outside communist-era folklore performance. The chapter discusses the mediation of neighboring Hungary’s dance house movement in Slovakia, and outlines the historical conditions that made it challenging to sustain dance house activity. The chapter argues that at the turn of the twenty-first century, revivalists managed artistic tensions and strengthened their reform efforts by becoming skilled neoliberal actors; making the transition from revivalism to a world-music fusion style allowed the musicians of Banda to be independent creatively and economically.

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24

Glenn, Hinson, Ferris William R, and University of Mississippi. Center for the Study of Southern Culture., eds. Folklife. Chapel Hill: University of North Carolina Press, 2009.

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25

Stimeling, Travis D. Introduction. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.1.

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This chapter offers a historiographic survey of country music scholarship from the publication of Bill C. Malone’s “A History of Commercial Country Music in the United States, 1920–1964” (1965) to the leading publications of the today. Very little of substance has been written on country music recorded since the 1970s, especially when compared to the wealth of available literature on early country recording artists. Ethnographic studies of country music and country music culture are rare, and including ethnographic methods in country music studies offers new insights into the rich variety of ways in which people make, consume, and engage with country music as a genre. The chapter traces the influence of folklore studies, sociology, cultural studies, and musicology on the development of country music studies and proposes some directions for future research in the field.

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26

Milnes, Gerald. Play of a Fiddle: Traditional Music, Dance, and Folklore in West Virginia. University Press of Kentucky, 2021.

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27

Milnes, Gerald. Play of a Fiddle: Traditional Music, Dance, and Folklore in West Virginia. University Press of Kentucky, 2014.

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28

Cohen, Ronald D., and Rachel Clare Donaldson, eds. Background in the United States and Great Britain to 1950. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038518.003.0002.

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Throughout the twentieth century, folk music has had many definitions and incarnations in the United States and Great Britain. The public has been most aware of its commercial substance and appeal, with the focus on recording artists and their repertoires, but there has been so much more, including a political agenda, folklore theories, grassroots styles, regional promoters, and discussions on what musical forms—blues, hillbilly, gospel, Anglo-Saxon, pop, singer-songwriters, instrumental and/or vocal, international—should be included. These contrasting and conflicting interpretations were particularly evident during the 1950s. This chapter begins by focusing on Alan Lomax (1915–2002), one of the most active folk music collectors, radio promoters, and organizers during the 1940s. Lomax had a major influence on folk music in both the United States and Great Britain, tying together what had come before and what would follow. The chapter then discusses folk festivals and performers; British folk music, musicians, and trans-Atlantic musical connections; and Carl Sandburg's publication of the The American Songbag in 1927.

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29

Hush, Child! Can't You Hear the Music? University of Georgia Press, 1999.

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30

Gonzalves, Theodore S. Day the Dancers Stayed: Performing in the Filipino/American Diaspora. Temple University Press, 2009.

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31

Thompson, Katrina Dyonne. Same Script, Different Actors. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038259.003.0007.

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This chapter examines the emergence of a distinct American entertainment culture, and specifically how scenes of blacks performing music and dance for whites directly influenced popular culture through the blackface minstrel show, fiction literature, travel narratives, and Southern folklore. It argues that these distorted images were recreated and further developed on the Northern stage through the rise of the American blackface minstrel show in the 1830s. It shows that white men performing in blackface in minstrel shows were mimicking black slaves while black slaves were presenting a facade of black culture that was forced upon them by white masters. Beyond the development of the blackface minstrel show as a major form of entertainment, scenes of enslaved blacks performing became the staple setting for popular fiction as well as proslavery and antislavery texts. This project recognizes blackface minstrelsy as a representation of whites imitating Southern white ideals and images of blackness.

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32

Erbsen, Wayne. Front Porch Songs, Jokes & Stories: 48 Great Sing-Along Favorites. Native Ground Music, 2008.

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33

Ward, Jenna, and Allan Watson. “FX, Drugs, and Rock ’n’ Roll”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.25.

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The music industry is characterized by stereotypical images of excess, pleasure, intensity, and play that have given rise to folklore of “sex, drugs, and rock ’n’ roll.” Through a qualitative study of sound engineers this chapter explores two main questions: To what extent is the lived reality of working in studio contexts with creative artists reflected in the stereotypical representations of “rock ’n’ roll”? To what extent is the “rock ’n’ roll vibe” an organic, voluntary state of creativity or facilitated “emotional FX” elicited by studio staff to enhance particular musical performances? The chapter demonstrates ways in which engineers and producers manage their emotions to influence and support performances from artists. These emotional labor performances aim to recast the technological, and often stark, physical space of the recording studio as a site of autonomy and play, turning work spaces into sites of pleasure and excess in sometimes uncomfortable working conditions.

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34

Bartenstein, Fred. Lucky Joe's Namesake: The Extraordinary Life and Observations of Joe Wilson. University of Tennessee Press, 2017.

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35

Roeper, Richard. Hollywood Urban Legends: The Truth Behind All Those Delightfully Persistent Myths of Films, Television, and Music. New Page Books, 2001.

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36

Roeper, Richard. Hollywood Urban Legends: The Truth Behind Alll Those Delightfully Persistent Myths of Film, Television, and Music. New Page Books, 2002.

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37

Anderson, Linda. On Top of Old Smokey: A Collection of Songs and Stories from Appalachia. Ideals Publications, 1992.

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38

BROWN, Cecil. Stagolee Shot Billy. Harvard University Press, 2009.

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39

Cutting, Edith E. Lore of an Adirondack County. Cornell University Press, 2018.

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40

Lore of an Adirondack County. Cornell University Press, 2010.

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41

Burrison, John A. Roots of a Region: Southern Folk Culture. University Press of Mississippi, 2007.

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42

Roots of a Region: Southern Folk Culture. University Press of Mississippi, 2007.

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43

Burrison, John A. Roots of a Region: Southern Folk Culture. University Press of Mississippi, 2007.

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44

Sawin, Patricia. Listening For A Life. Utah State University Press, 2004.

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45

Sawin, Patricia. Listening for a Life: A Dialogic Ethnography of Bessie Eldreth Through Her Songs and Stories. University Press of Colorado, 2004.

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46

Sawin, Patricia. Listening for a Life: A Dialogic Ethnography of Bessie Eldreth Through Her Songs and Stories. University Press of Colorado, 2004.

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47

Cantwell, Robert S. When We Were Good: The Folk Revival. Harvard University Press, 1997.

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48

Thomas, Rebecca L. Connecting Cultures: A Guide to Multicultural Literature for Children. ABC-CLIO, LLC, 1996.

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