Folk Music and Modern SoundWilliam R. Ferris, Mary L. Hart Contributions by Amiri Baraka, Doris J. Dyen, Dena J. Epstein, David Evans, Kenneth S. Goldstein, Anthony Heilbut, William Ivey, Charles Keil, A. L. Lloyd, Bill C. Malone, Robert Palmer, Vivian Perlis, Mark Slobin, Richard Spottswood, and Charles K. Wolfe The essays in this collection range from the impact of technology on the British folksong revival to regional characteristics of early rock and roll in New Orleans. Attention is given to the blues, Sacred Harp singing, ethnic music, both black and white gospel, country music, and the polka. Other essays consider the relationship of music from the Yiddish-American theater with that of Broadway, the wide influence and commercialization of black music in today's popular music, myths about early black music, and Charles Ives as folk hero. |
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Abernathy accordion African Afro-American American music artists audience ballads bass began black music black Sacred Harp blues singers century changes Charles Ives Chicago church Cleveland commercial composer concert Connor Hall country music culture dance early European festivals fiddle fifties folk music folksong folksong revival Fowler Frankie Yankovic German Gospel Boogie gospel music gospel singers guitar Homeland Harmony Quartet honky tonk influence instruments Ives's Jackson jazz Jewish Jimmy label major melody Memphis ment Milwaukee Mississippi musical forms Nashville Sound Negro spirituals Oak Ridge Quartet Orleans performance style piano play Polish polka polka bands popular music published quartets radio record companies repertoire rhythm and blues rock and roll rural Sacred Harp Sacred Harp singing scholars secular singing convention singing style Slovenian Slovenian style social songbooks songs South Southern stylistic sung tion tunes urban vocal Yiddish York