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Books on the topic 'Traditional singers'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Where songs do thunder: Travels in traditional song. Belfast: Appletree Press, 1991.

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2

Malyshev, Valeriĭ. Otkrovenii͡a︡ pevt͡s︡a i travnika. Sankt-Peterburg: "Nauka,", 2000.

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3

Malyshev, Valeriĭ Pavlovich. Otrovenii︠a︡ pevt︠s︡a i travnika. Sankt Peterburg: Nauka, 1999.

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4

Hood, Phil. Artists of American folk music: The legends of traditional folk, the stars of the sixties, the virtuosi of new acoustic music. New York: Quill, 1986.

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5

Epic singers and oral tradition. Ithaca: Cornell University Press, 1991.

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6

Schimmelpenninck, Antoinet. Chinese folk songs and folk singers: Shan'ge traditions in southern Jiangsu. Leiden: CHIME Foundation, 1997.

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7

Crispin, Edmund. Schwanengesang. Köln: DuMont, 2003.

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8

Crispin, Edmund. Swan Song. Newburyport: Ipso Books, 2015.

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9

Crispin, Edmund. Swan song. London: Mysterious Press, 1990.

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10

Cróinín, Dáibhí Ó. The songs of Elizabeth Cronin, Irish traditional singer: The complete song collection. Dublin: Four Courts, 2000.

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11

The singer of tales in performance. Bloomington: Indiana University Press, 1995.

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12

Coaldrake, Angela Kimi. Women's gidayū and the Japanese theatre tradition. New York: Routledge, 1996.

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13

1916-, Lord Mary Louise, ed. The singer resumes the tale. Ithaca: Cornell University Press, 1995.

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14

I belong to this band, hallelujah!: Community, spirituality, and tradition among sacred harp singers. Chicago: University of Chicago Press, 2011.

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15

1951-, Mitchell Stephen A., and Nagy Gregory, eds. The singer of tales. 2nd ed. Cambridge, Mass: Harvard University Press, 2000.

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16

Like the night: Bob Dylan and the road to the Manchester Free Trade Hall. London: Helter Skelter, 1998.

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17

Hunt, John. Tenors in a lyric tradition: Peter Anders, Walther Ludwig, Fritz Wunderlich : discographies compiled by John Hunt with valuable assistance from Clifford Elkin. [England]: J. Hunt, 1996.

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18

Steane, J. B. The grand tradition: Seventy years of singing on record. 2nd ed. Portland, Or: Amadeus Press, 1993.

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19

The bilingual singer: A study in Albanian and Serbo-Croatian oral epic traditions. New York: Garland Pub., 1990.

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20

Coaldrake, Angela Kimi. Women's gidayǔ and the Japanese theatre tradition. London: Routledge, 1997.

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21

The jazz bass book: Technique and tradition. San Francisco: Backbeat Books, 2002.

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22

Bakchiev, Talantaaly. Manaschylar. Bishkek: Kut-Ber, 2012.

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23

Elvis Costello, Joni Mitchell, and the torch song tradition. Westport, CT: Praeger, 2003.

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24

Ampene, Kwasi. Female song tradition and the Akan of Ghana: The creative process in Nnwonkoro. Burlington, VT: Ashgate, 2004.

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25

Molly, Beer, ed. Singing out: An oral history of America's folk music revivals. New York: Oxford University Press, 2010.

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26

Institute, International African, ed. Songs of the women migrants: Performance and identity in South Africa. Edinburgh: Edinburgh University Press for the International African Institute, 1999.

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27

Fowke, Edith. Traditional Singers & Songs from Ontario (Traditional Singers and Songs). Gale Group, 1985.

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28

Jenkins, Neil. Carol Singers Handbook: 100 Settings for Traditional Carols. Mel Bay Pubns, 1998.

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29

Davies, Carol A. Really Beautiful Company: Traditional Singers and Musicians of Gloucestershire. Troubador Publishing Limited, 2017.

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30

Burton, Thomas G. Tom Ashley, Sam Mcgee, Bukka White: Tennessee Traditional Singers. University of Tennessee Press, 2005.

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31

Davies, Carol A. Really Beautiful Company: Traditional Singers and Musicians of Gloucestershire. Troubador Publishing Limited, 2020.

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32

Bell, Derek. Surrender: Mystical Music for Yoga: Traditional and Contemporary Christmas Music From the Victorian Singers. Crystal Clarity Publishers, 2001.

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33

Arisawa, Shino. Akiko Fujii. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037245.003.0002.

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This chapter focuses on Japanese singer Akiko Fujii. She was born into a prestigious musical family in the 1960s, having both a mother and grandmother who were renowned singers of jiuta, an inherited male-dominated vocal tradition. When Akiko was in her forties, her brother became the head of their mother's music school, forcing her towards major life decisions—including a career as a professional jiuta performer, rather than a teacher. Following a path of independence, passion, and inspiration, Akiko chose to break new ground by adapting her performance style to draw in audiences and create intimacy, resisting criticism of an older generation and risking disapproval of her mother. Within a traditional context of profound family pressure, Akiko has created a singing career for herself through perseverance and determination.

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34

Yarrow, Peter. Peter, Paul, and Mary: Fifty years in music and life. 2015.

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35

Lord, Albert Bates. Epic Singers and Oral Tradition. Cornell University Press, 2018.

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36

Abrahams, Frank, and Paul D. Head, eds. The Oxford Handbook of Choral Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.001.0001.

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This text explores varied perspectives on teaching, learning, and performing choral music. Authors are academic scholars and researchers as well as active choral conductors. Topics include music programming and the selection of repertoire; the exploration of singer and conductor identity; choral traditions in North America, Western Europe, South America, and Africa; and the challenges conductors meet as they work with varied populations of singers. Chapters consider children’s choirs, world music choirs, adult community choirs, gospel choirs, jazz choirs, professional choruses, collegiate glee clubs, and choirs that meet the needs of marginalized singers. Those who contributed chapters discuss a variety of theoretical frameworks including critical pedagogy, constructivism, singer and conductor agency and identity, and the influences of popular media on the choral art. The text is not a “how to” book. While it may be appropriate in various academic courses, the intention is not to explain how to conduct or to organize a choral program. While there is specific information about vocal development and vocal health, it is not a text on voice science. Instead, the editors and contributing authors intend that the collection serve as a resource to inform, provoke, and evoke discourse and dialogue concerning the complexity of pedagogy in the domain of the choral art.

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37

Denison, Craig. Teaching and Conducting Diverse Populations. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.23.

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This chapter examines how social delineations of boys’ singing inform the boychoir conductor’s choices for vocal technique, programming, and rehearsal procedure. The introduction identifies structural elements that delineate a boychoir from other types of choirs, especially in the United States, with its traditions of multistage maturity level singers across different vocal registers. Once established, the chapter examines signature programming, rehearsal, and performance norms, with attention to the intersection of traditional and contemporary practices. Following a consideration of the boychoir community and its relationship to the community-at-large, the chapter closes with the concluding assertion of a boychoir pedagogy that synergizes the handling of different levels of boychoir development (especially voice changes) and adult and boy meanings of boys’ singing.

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38

Wade, Stephen. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036880.003.0013.

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This introductory chapter first describes the artists featured in this volume. These twelve musicians, singers, and groups recorded between 1934 and 1942—seven black and five white—provide a baker's dozen of folksongs and traditional tunes. Apart from their surpassing artistic gifts, these individuals illuminate an America rich with local creativity. They resided in such places as Salyersville, Kentucky; Byhalia, Mississippi; and Salem, Virginia. They also confined their music making largely to their own communities. Sometimes they sang on playgrounds, sometimes while chopping cotton, and sometimes from behind bars. The remainder of the chapter discusses sociologist and a leading figure in the Harlem Renaissance, Charles S. Johnson; the origins of the present volume; and the author's recollections of the wonderful, frustrating, frightening, and transporting moments with the songs and singers that comprised the present volume.

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39

Gamble, Nikki. Oxford Reading Tree Traditional Tales: Singles Pack. Oxford University Press, 2011.

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40

Abrahams, Frank. Critical Pedagogy as Choral Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.1.

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In this chapter, the author suggests that choral directors use the tenets of critical pedagogy as the framework for the choral experience, a shift in traditional choral pedagogies. The chapter explores the roots of critical pedagogy. In particular it discusses the ways an approach grounded in critical pedagogy might remedy issues of the inappropriate uses of power, the marginalization of singers, and hegemonic practices in school politics. The text suggests rehearsal strategies and explains techniques of reciprocal teaching to better connect the ways singers engage with music and in the process develop musical agency and hone the 21st-century learning and innovation skills of collaboration, communication, creativity, and critical thinking. Finally the chapter addresses the artistic processes of creating, performing, and responding, which are the cornerstones of the 2014 National Core Arts Standards in the United States.

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41

Crónín, Dáibhí Ó. Elizabeth Cronin, Irish Traditional Singer: The Complete Song Collection. Four Courts Press, 2022.

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42

Coaldrake, A. Ki. Women's Gidayu and the Japanese Theatre Tradition. Routledge, 1997.

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43

Malone, Thomas. “Singer’s Music”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.27.

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With a turbulent musical fabric of open and parallel fifths, high-decibel vocal production, and a grassroots DIY organizational structure, Sacred Harp singing has been described variously as “Gregorian Chant meets Bluegrass” and “Punk Rock Choral Music.” With historical roots in rural singing schools of New England and the American South, singing from The Sacred Harp tunebook remains a living, growing, and vital musical multinational subculture that operates without auditions, rehearsals, or performances. This chapter discusses participatory and social factors of music outside the presentational frame, the ideas of serious leisure, and philosophical notions of musicking and musical praxis to illuminate ways in which Sacred Harp singing stands apart from the concertizing traditions of Western art music and choral performance.

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44

Crispin, Edmund. Swan Song. Vintage Books, 2009.

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45

The Songs of Elizabeth Cronin, Irish Traditional Singer: The Complete Song Collection. Four Courts Press, 2000.

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46

Jensen, Oskar Cox. ‘True Courage’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0009.

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This chapter follows the story of a single song from its 1798 composition to calls for its revival in 1900, taking in its performance, reception, dissemination, appropriation, and reinvention. A close musical and lyrical reading is tied to those chronological contexts, and informed by the philosophy, politics, and cultural practices of those involved—Dibdin, other singers, audiences, and later interpreters of ‘True Courage’. The process is reciprocal: as a social object, the song itself sheds new light on the mentalities and habits of its day. In pursuing this novel take on the text-based case study, this chapter provides an interdisciplinary model that has as much to offer the traditional historian as the musicologist or literary scholar.

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47

Cohen, Ronald D., and Rachel Clare Donaldson, eds. Blacklisting and Folk Developments, 1953–1954. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038518.003.0004.

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This chapter begins with a focus on Harry Smith (1923–1991), a beatnik eccentric artist, and experimental filmmaker who was responsible for the six-LP set called the Anthology of American Folk Music. The set featured commercial recordings of traditional rural musicians that had been made in the South during the 1920s and 1930s. The discussion then turns to the folk revival in Great Britain by the mid-1950s. While the Communist Party members represented one group contributing to the growing popularity of folk music and drew inspiration from the American performers such as the Almanac Singers, People's Songs, and the Weavers, folk music also began reaching a wider audience through the clubs, concert halls, and recording studios.

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48

Diversity and Contact among Singer-Poet Traditions in Eastern Anatolia. Ergon, 2019.

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49

Özdemir, Ulas, Wendelmoet Hamelink, and Martin Greve, eds. Diversity and Contact among Singer-Poet Traditions in Eastern Anatolia. Ergon Verlag, 2019. http://dx.doi.org/10.5771/9783956504815.

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50

Snyder, Jean E. Burleigh’s Singing Career. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0009.

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This chapter focuses on Harry T. Burleigh's singing career. When Burleigh auditioned for admission to the Artist's Course at the National Conservatory of Music, his goal was to become a classical concert singer. Like soprano Sissieretta Jones, he wanted to sing arias and art songs in recital. Like other well-known black singers, Burleigh sang for audiences in African American venues throughout the East and Midwest, as well as for mixed audiences, and on many occasions he sang for audiences that were primarily white. As he became known nationwide as “the premiere baritone of the race” and as the leading black composer in the early twentieth century, he was often invited to present full recitals, to represent African Americans as part of a program of American music, or to give a lecture-recital on spirituals. One of Burleigh's favorite accompanists was pianist R. Augustus Lawson. This chapter also examines Burleigh's contribution to the tradition of African American art music, along with his use of the works of American song composers and his collaboration with them.

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