Part 3 The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival America’s Musical Landscape 5th edition PowerPoint.
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
Part 3The Growth of Vernacular
TraditionsChapter 11: Ethnic Traditions and the Urban
Folk Revival
America’s Musical Landscape 5th edition
PowerPoint by Myra Lewinter MalamutGeorgian Court University
Hawaiian Music Popular today, this music has profoundly affected
mainland country music and pop Rooted in old religious chants and hymns, Hawaiian
music absorbed rhythms, sounds, and instruments brought to Hawaii by missionaries, tourists, and settlers
1800s: Mexican cowboys brought the guitar to Hawaii Guitar accompanied hula and Hawaiian songs and hymns Slack key guitar, a Hawaiian invention involving loosening
(slackening) guitar strings was popular Charles Philip “Gabby” Pahinui (1921-1980), was the master
of the slack key guitar and renowned for his virtuosity
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival
The Hawaiian Steel Guitar Invented around the turn of the 20th century, made popular at the
1915 Panama-Pacific International Exposition in San Francisco
A favorite Hawaiian instrument, with metal strings raised above the fret board, held horizontally in the lap The player presses a steel bar against the strings, rather than
pressing them to the fret board with the fingers as on a traditional guitar
By sliding the metal bar along the strings with the left hand, the player achieves a gentle slide suggestive of country twang
By the end of the 1930s the Hawaiian steel guitar was found in Southwestern country bands and their music
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival
Cajuns: Background French Acadians in the eighteenth century
were evicted from their homeland, Acadia (Nova Scotia), by the British Settled in the remote area south of New Orleans Continued to speak French, evolving a patois, or
mixed language of their own
These French Acadians became known as the Cajuns
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival
Instrumentation: Accordion, or concertina, and triangle
Punctuated with occasional joyous shouts
A A B B A A B …,
During the 1920s and1930s the Carter Familycollected, arranged and recorded hundreds of American traditional songs, spirituals, andfolk songs, laying thefoundation for moderncountry mu
Notice the sound of Rodgeel.
During his lifetime Rodgers established thesolo song as an important part of hillbillymusic.
Rodgers was the first person elected to theCountry Music Hall of Fame in Nashville.
Cajun music is mainlylighthearted, with a hintOf tragedy
Dance rhythms, catchymelodies, and accordion
“Oh, ya, yaie!” is similarto Bluegrass sounds
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival
Urban Folk Music Urban folk musicians performed folklike music in a polished,
suave manner designed to appeal to fans of popular music Some performers used traditional tunes, writing new words Others composed new songs in the folk or country style Folk music was used to express political beliefs
The urban folk revival evolved in the 1950s and early 1960s into a popular movement of mainly young people Fans were often socially counscious, politically active Folk enthusiasts drew inspiration from singing hobo Woody
Guthrie
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival
Woody Guthrie, America’s Greatest Folk Poet (1914-1967) Singer-songwriter Guthrie evolved
From a simple hobo and hillbilly singer of the Great Depression…
into a Sophisticated composer and performer of protest songs
His family devastated by dust storms, fire, bank failures, and illness, Guthrie decided that only by banding together common people could survive Guthrie’s music, often set to traditional and religious
songs, expressed this belief
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival
The popular Kingston Trio’s recording of “Tom Dooley” (1958) A murder ballad innocent of political overtones “Tom Dooley” formed a tie between country music and
mainstream pop
Suburban, collegiate, clean-cut groups produced commercial music for a sophisticated urban audience, reviving interest in early folk music The Limelighters The New Christy Minstrels Peter, Paul, and Mary Joan Baez revived and modernized the Carter Family’s songs
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival
Bob Dylan’s Influence Upon the Urban Folk Revival Before Dylan, the folk revivalists had mostly performed songs
composed or handed down by others
Dylan’s original songs inspired others in the folk revival movement to write their own material Rather than performing new arrangements of traditional tunes,
the folk revivalists now produced original “folk” songs
Dylan would soon connect with rock by making a transition from leader of urban folk to electric rock performer
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival
Later in Dylan’s Career: By the 1990s Dylan returned to traditional folk and
blues material “Good as I Been to You,” “World Gone Wrong,” and “Time
Out of Mind” His 2001 album “Love and Theft” includes sounds of
blues, jazz, folk, and rockabilly
Dylan is now acclaimed as a poet, whose words have been set to music by others, including American composer John Corigliano’s song cycle Mr. Tambourine Man: Seven Poems of Bob Dylan
Part 3: The Growth of Vernacular Traditions Chapter 11: Ethnic Traditions and the Urban Folk Revival