The article reviews the motion picture "Danielson: A Family Movie," directed by J. L. Aronson. The film focuses on the Danielson Famlie, a FOLK collective of devout Christians.
The article discusses how people are using "The Full English" project of the English FOLK Dance and Song Society (EFDSS). Particular focus is given to singer and instrumentalist Mary Humphreys in Cambridgshire, England, who finds "The Full English" extremely useful in school projects. It discusses how "The Full English" project has helped researchers Paul and Liz Davenport, singer Shan Graebe, and song transcribers Simon Furey and Lewis Jones.
In July 25, 1965, the most notorious live performance in Rock & Roll lasted about fifteen minutes. Three songs played at as saultive volume by a plugged in blues band fronted by the young poet-king of American FOLK music, at the sacred annual congress of acoustic purists, the Newport FOLK Festival. In that quarter-hour, on the warm Sunday evening of July, 1965, at Freebody Park in Newport, Rhode Island, Bob Dylan, 24, backed by the electric-Chicago charge of the Paul Butter-field Blues Band-declared his independence from the orthodoxy of the FOLK scene and publicly unveiled his rock U roll heart.
Relates the author's experience in writing a book about FOLK and country music. Signs indicating that the book deal will not materialize; Disagreement between the author and the editor; Problems with book executives.
This article explores the discourse of authenticity, which has become central to our understanding of twentieth-century FOLK music revivals in the United States. The process of musical revival, that is, the self-conscious restoration of musical systems deemed in danger of decline or extinction, has been closely tied to perceptions of exactly what constitutes authentic, or genuine, FOLK tradition. The term tradition, like authenticity, is a slippery concept based on a self-conscious interpretation and selective editing of the past. The complex mechanism of cultural editing that undergirds the authentication process is fleshed out by focusing on the efforts of one band, the New Lost City Ramblers. During the 1960s the Ramblers introduced northern audiences to what they judged to be authentic southern string-band and bluegrass styles at a time when the urban revival was dominated by popular and artsy interpreters of FOLK music. The Ramblers' struggles to render accurately southern rural instrumental and singing styles, while maintaining their own distinctive sound, offer insight into the challenges authenticity posed for mid-century FOLK musicians and their urban audiences, and continues to pose for scholars and cultural workers today.
暂无评论