By John Minton
While list males first traveled from Chicago or invited musicians to studios in ny, those marketers had no notion how their know-how might switch the dynamics of what constituted a musical functionality. seventy eight Blues: Folksongs and Phonographs within the American South covers a revolution in artist functionality and viewers belief via shut exam of enormous quantities of key "hillbilly" and "race" documents published among the Nineteen Twenties and global conflict II.
In the postwar interval, nearby traces recorded on pioneering seventy eight r.p.m. discs exploded into city blues and R&B, honky-tonk and western swing, gospel, soul, and rock 'n' roll. those old-time files defend the paintings of a few of America's maximum musical geniuses resembling Jimmie Rodgers, Robert Johnson, Charlie Poole, and Blind Lemon Jefferson. also they are an important mile markers during American well known track and the expansion of the fashionable recording industry.
When those files first circulated, the very suggestion of recorded song was once nonetheless a novelty. All tune have been created reside and tied to specific, intimate events. How have been listeners to appreciate an impersonal expertise just like the phonograph list as a musical occasion? How may well they reconcile firsthand interactions and standard customs with technological concepts and mass media? The documents themselves, numerous hundred of that are explored absolutely during this publication, provide solutions in rankings of spoken commentaries and skits, in music lyrics and monologues, or different extra sophisticated potential.
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Extra info for 78 Blues: Folksongs and Phonographs in the American South (American Made Music Series)
Southerners were used to drawing such fine distinctions long before the phonograph. Even with oral traditions, they had always envisioned many ways of cooperating in music-making, many different kinds or degrees of personal involvement. ”2 Most people intuitively recognize these interpretive frames and their nuances. It’s well known, for instance, that more people can repeat jokes than actually tell them. The reasons are many: some people really can’t tell jokes, sometimes those who can hedge on items that may be offensive (or worse, not get a laugh), sometimes other factors intrude.
39 But while the movement’s proponents often framed their concerns in contrast to the field’s prevailing interests—and especially to historical studies Learning to Listen | 29 and comparative textual analyses—not all felt these to be in conflict. Nor was this perspective necessarily inimical to such “things” as phonograph records. One early advocate, Roger Abrahams, even touted its potential to rehabilitate troublesome forms like records or print, “especially evident in folksong scholarship whenever the problem of broadside printings [or sound recordings] of traditional songs has been encountered, .
Still, even with full-blown dramas, latter-day listeners may miss the most telling details. And not all clues are this obvious. There are other more subtle testimonies to how Southerners understood records, which were not always cast as mere extensions of oral traditions. Sometimes Southerners experienced records as if they were square dances; sometimes they experienced them as records. And sometimes they just thought them weird. Our object, then, is any expression—spoken, dramatic, or otherwise—illuminating records as any kind of musical event.
78 Blues: Folksongs and Phonographs in the American South (American Made Music Series) by John Minton