By Gillian Mitchell
This paintings represents the 1st comparative learn of the folks revival stream in Anglophone Canada and the us and combines this with dialogue of how people track intersected with, and used to be dependent by way of, conceptions of nationwide affinity and nationwide identification. scholars will locate the ebook important as an advent, not just to key issues within the people revival, but in addition to techniques within the examine of nationwide identification and to themes in American and Canadian cultural historical past. educational experts will come upon an alternate standpoint from the extra normal, vast technique provided through previous histories of the folks revival flow.
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In the Judaeo-Christian culture -with few exceptions- song has continually been valuable to the functionality of sacred rites. The musical atmosphere of liturgy has its roots within the earliest customs of the church and the perform has endured to conform as much as the current day. because the modern church in lots of Western societies grapples with the divisive problems with homosexual clergy or girl ordination, simply as divisive a schism seems to be in growth on this planet of church tune.
This paintings represents the 1st comparative research of the people revival stream in Anglophone Canada and the us and combines this with dialogue of how people tune intersected with, and used to be based by means of, conceptions of nationwide affinity and nationwide identification. scholars will locate the ebook precious as an advent, not just to key subject matters within the folks revival, but additionally to techniques within the learn of nationwide id and to subject matters in American and Canadian cultural background.
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Additional info for The North American Folk Music Revival: Nation And Identity in the United States And Canada, 1945-1980
American Klezmer: Its Roots and Offshoots (Berkeley, CA, 2002). 57 Victor Green, A Passion For Polka: Old-Time Ethnic Music in America (Berkeley, CA, 1992). 58 I. Sheldon Posen, ‘On Folk Festivals and Kitchens: Questions of Authenticity in the Folksong Revival’; Pauline Greenhill, ‘“The Folk Process” in the Revival: “Barrett’s Privateers” and “Baratt’s Privateers”’; Anne Lederman, ‘“Barrett’s Privateers”: Performance and Participation in the Folk Revival’. These last two essays both concern a song popularised by Canadian folk musician Stan Rogers.
13. 13 Lears, No Place of Grace, pp. 28–30. 14 Carl Berger, The Sense of Power: Studies in the Ideas of Canadian Imperialism, 1867–1914 (Toronto and Buffalo, NY, 1970), p. 49. Deﬁning the People’s Songs 31 British extraction, believed that the British Empire provided the best framework within which the Canadian nation could develop and grow. ’16 Thus, to be Canadian, and to be a British Subject simultaneously, was not a contradiction for imperialists who believed that the mother country could help to fulﬁl the ambitions and potential of the former colony.
The work of John Lomax did indeed play a vital role in gaining appreciation for the music and culture of the ‘ordinary people’, especially that of the hitherto marginalised African-American communities. He urged folklore enthusiasts and students to accept American music on its own terms rather than constantly compare it unfavourably with older European traditions. 33 Later scholars, however, took a closer look at some of Lomax’s motivations and found some darker forces at work. Jerrold Hirsch, while acknowledging Lomax’s importance in promoting African-American music, believed that his autobiographical account Adventures of a Ballad Hunter (1947) revealed a portrait of a fundamentally racist, paternalistic Southerner who was prepared to champion the rights of black people as long as they posed no threat to the racial status quo.
The North American Folk Music Revival: Nation And Identity in the United States And Canada, 1945-1980 by Gillian Mitchell
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